Megan Holman MArch(Prof) Thesis 2016

Megan Holman 366708 2016 Thesis - M.Arch (Prof.)

Supervisor Christos Daskalakos

mobilising movement

A Dance Therapy Complex for the disabled in the heart of urban Springs

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d e c l a r at i o n

I, Megan Rosemary Holman (366708), am a student registered for the course ARPL7003 in the year 2016. I hereby declare the following:

I am aware that plagiarism (i.e. the use of someone else’s work without permission and/or acknowledging the original source) is wrong. I confirm that the work submitted for assessment for the above course is my own unaided work except where I have stated explicitly otherwise. I have followed the required conventions in referencing thoughts, ideas, and visual material of others. I understand that the University of the Witwatersrand may take disciplinary action against me if there is a belief that this is not my unaided work or that I have failed to acknowledge the source of the ideas or words in my own work.

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Figure 1: Dance Detour Cover Photo. Unknown. 2013

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ABSTRACT

“Dance has been fundamental to human life and culture since the time of our earliest ancestors; a form of self-expression, communication and celebration of life and community. By the turn of the 20th century, the potential for dance to promote healthy growth and change was also recognised. This recognition came with the development of more expressive and improvisational forms of dance popular at that time, as well as the acceptance of the integral relationship between mind and body” - Dance Movement Therapy Association of Australasia¹.

Dance is an integral part of human life. It has been proven² to show improvements in mental health, social integration, work ethic, discipline, physical capabilities, coordination, and more. It is also a wonderful form of recreation, and one that is largely lacking in Springs, one of the key industrial centres of the Ekurhuleni Municipality of Gauteng.

Springs has two Theatres (The Springs Civic Theatre and the Springs Gristelike Teatre) within a block of each other in the CBD, but the nearest dance school is in Benoni, twenty-two kilometres away.

It is proposed that an Urban Dance Studio complex and Movement Therapy Centre be developed in the Springs CBD to support the Springs Civic Theatre and the Springs Gristelike Teatre, thus introducing a catalyst for the development of a central cultural precinct. The proposed complex will also create a central zone for the enablement of a recreational (and possibly even professional) dance culture in Springs. This will include the facet of dance movement therapy, which is “the therapeutic use of movement to further the emotional, cognitive, physical and social integration of the individual, based on the empirically supported premise that the body, mind and spirit are interconnected.”

(Dance Movement Therapy Association of Australasia) ¹.

This is ideal in an area such as Springs, as it could service the wider East Rand area.

There is an established conglomeration of facilities for the disabled (both mentally and physically) across the East Rand. While in Springs alone, there are the Headquarters for Quadriplegics South Africa, and the Gauteng Branch of Epilepsy South Africa, no platform for disabled dance or movement therapy exists on the East Rand, or indeed in the greater Gauteng region.

A dance complex of this nature is intrinsically multicultural, inclusive of all levels of physical and mental ability. It includes facilities not only for dance, but also for the treatment of disabilities – such as physical therapy rooms, and a hydrotherapy swimming pool. It is close to main transport hubs so that those from the surrounding areas of Springs, Kwathema, Benoni, Brakpan, and Boksburg have easy access to the complex. It connects directly into the existing Civic Theatre (a 300-seater theatre in a conglomeration of the Art Deco style – which is so prevalent in Springs – and International Style), in order to maximise the potential of the existing theatre.

Figure 2: Day 21/Group 12. Candoco. 1999

¹ See Bibliography

² See Bibliography

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CONTENTS Declaration 3 Abstract 5 Introduction Chapter 1:

Dance and Healing

An exploration of the influence

of dance on mind, body, and spirit, and the spatial needs of therapeutic spaces

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Chapter 2:

The Choreography of Architecture An essay 19

Chapter 3:

A History of Springs

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Chapter 4: Inspirations

Precedent Studies

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Chapter 5:

The Art and Culture Precinct An urban investigation

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Chapter 6:

Site Selection

Mapping and urban context

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Chapter 7:

Viability Study

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Chapter 8:

Designing for Disability

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Chapter 9:

Design Development

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Chapter 10:

Choreographed Space Final Design Iteration

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Chapter 11:

Technology Study

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Bibliography

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ETHICS CLEaRANCE

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acknowledgements

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I N TR O D U C T I O N

Figure 3: Overlay 1. Holman, M. 2016

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Figure 4: Remix-Lovaffair-Baxter-30032010-EditA-MW010. Remix Dance Company. 2010

I have always been enthralled and enamoured with dance, in particular with classical ballet. I was six years old when I watched my first live classical ballet, a production of Romeo and Juliet to Prokofiev’s music, at the then Johannesburg Civic Theatre (now renamed the Joburg Theatre Complex). From the first notes of the prelude, before the curtain was even raised, I was utterly entranced by the magic and the spectacle that was dance performance. I demanded (in the foot-stomping fashion of all six-year-olds) that I needed to start ballet immediately, and was beyond thrilled when my parents granted me the privilege of attending lessons with Joecy Pretorius, a renowned Johannesburg Cecchetti Ballet teacher. I started lessons the very next week and continued all the way through my high school career, completing my formal dance training with my Advanced Two and Teacher’s diploma during a gap year.

It is common to say amongst dancers, ‘once a dancer, always a dancer’ – even years after you last partake in a formal dance class, you still refer to yourself as a dancer. It is a passion that never leaves your soul, and for me it was the most natural starting point for my research report.

The next step into my research report came about when I was learning to teach ballet during my gap year. A young girl came to our studio, asking if she could have private lessons with me. She had severe early-onset osteoarthritis, and her doctor had recommended dance as a way to improve muscle strength and ease her pain. Throughout my time training her, she was consistently amazed at what her body was able to achieve. Things she thought she would never be able to do became possible for the first time, and her joint pain decreased substantially over the six months I trained her.

Figure 4: Joecy and I / La Bayadere. Holman, M 2009

It was also during this time that I attended the FNB Dance Umbrella festival for the first time, and there saw Remix Dance Company perform their piece ‘Dancing with Shadows’.

Remix is a Cape Town based company which focusses on integrated dance – dance for all levels of physical and mental ability (http://www.remixdancecompany.co.za). That performance, and my experience teaching the girl, brought to the forefront of my mind the idea that dance should be available to anyone who wishes to partake in it, for any reason whatsoever, and it has been an idea that took root so firmly that it has never left.

Further to both of these examples, I was more recently inspired by Upworthy’s video entitled “A Dream Workshop with the New York City Ballet”, published in July of 2015. The mini-documentary detailed a mother whose daughter with cerebral palsy went to watch a ballet performance by the New York City Ballet (NYCB), and expressed a desire to be able to have a day, even a moment, doing the same thing for the love of dance. The mother reached out to NYCB, and her simple email resulted in the creation of a movement work-

Figure 6: Upworthy Screengrab. Upworthy. 2015

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shop for children with mental and physical impairments. The overlying outcome was one of utter joy, freedom, and awe at what their bodies could achieve if simply given the chance.

That again struck a chord with me and reinforced the notion that dance can inspire, heal, and bring joy and freedom to anyone who wishes to partake in it.

As for choosing Springs as an area of study for this Dance Therapy Complex, the choice once again stemmed for my time with Joecy Pretorius. I danced with a girl who, for some years, travelled to Johannesburg from Springs (a one hundred kilometre round trip), every afternoon after school, just to have the opportunity to attend ballet class, as there are no dance studios in Springs. The nearest dance school is in Benoni, a twenty-six minute car ride away. Springs also has an ailing Civic Theatre which would benefit greatly from an association with the proposed studio, much as Joburg Ballet is affiliated with Joburg Theatre.

It is a mutually beneficial relationship, with the theatre gaining more business and the ballet company having an appropriate arena in which to perform, ensuring the ability to perform more shows per year and keep dancers and associated theatre professionals in steady employ.

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DANCE AND HEALING

Figure 7: Overlay 2. Holman, M. 2016

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In her thesis, Isabelle Pericleous (2011) writes “Dance is as powerful a therapeutic art as it is a performing art. Dance can heal and cure people. It can provide a healthy and comforting environment for individuals suffering from psychological disorders, mental retardation, autism, cancer, and other conditions. Dance can set people free on a physical and, especially, a psychological level. It is a means of expressing oneself without any boundaries.”

She was referring specifically to clinical depression, but this maxim can be applied to a range of maladies. In an online article titled The Healing Powers of Dance, Christina Ianzito (2011) writes of a lady who suffered from “Sjögren’s syndrome, a chronic autoimmune disease that left her exhausted to the point of immobility and in debilitating pain.” She speaks of the healing power of dance, not only for her over-stressed muscles and joints, but also about the change of mind set that comes about through exposure to, and engagement with, dance.

A phenomenal story exists in the place of my secondary ballet teacher, Vyvyan Lorrayne.

Ms Lorrayne was a prima ballerina with the Royal Ballet and danced with the likes of Rudolf Nureyev and Anthony Dowell, male stars of classical ballet (Wikipedia. 2016). From her own telling, she had polio as a child. Her doctors told her that she would never walk unaided, and would always need a leg brace. Every day, she and her carer would make their way to her dance classes, where she would remove her brace, train for an hour and a half, and then replace her brace and make her way back home. Through dedicated training, not only did she negate the need to wear her brace, she became able to walk unaided (although she walks with a limp to this day). It can be likened to the amazing way in which those afflicted with a terrible stutter use singing to express themselves clearly and without fault. Ms Lorrayne turned to dance when doctors turned her away, and so big was her passion and conviction that she overcame all professional opinion to become a world-renowned prima ballerina (Wikipedia. 2016). Such is the healing power of dance.

Figure 8: Vyvyan Lorrayne. Unknown.

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Dance Movement Therapy (DMT) is a specific branch of art therapy which has been developed to make use of the widely-acknowledged healing powers of dance (Chodorow, J. 2000). It is used not only as an aid to those with physical impairments such as cerebral palsy or paraplegia, but also as an aid for those with mental illnesses such as depression.

Tannis Hugil (date unknown), a Dance Movement Therapist, writes that DMT addresses treatment by engaging three main approaches: Engendering safety, renegotiation and integration, and repairing relationships and re-entry into the world A sense of safety is achieved by increasing body awareness and extending gentleness to traumatised areas. This body awareness also allows for trust in one’s body to be developed, creating a safe container in which to experience memories. It also creates the ability to manage intense emotional responses by understanding the body’s occupation in space

and its groundedness to the earth.

The ‘renegotiations and integrations’ portion of the therapy approach deals with the notion that dance can provide a means to manage trauma by releasing it through bodily expression. This positive release helps to create acceptance of the body and a positive body image. This non-verbal expression also allows for a ‘re-entry into the world’ by sharing the trauma through a creative process, without any pressure. This sharing allows for individuals to accept their trauma.

In her writings, Hugil was referring specifically to the treatment of physical and psychological trauma, but once again this can be applied to a range of maladies.

These examples clearly show the benefits of Dance Movement Therapy, and point to the therapy aspect of dance as being vital in the proposed studio complex. They demonstrate the need to create a space which is safe, easily traversable, and cleanly integrated with the existing infrastructure and community so as to make access non-threatening and welcoming, for both the disabled and abled.

Figure 9: Parkinsons Patients in Dance Class. Lambie and Karlin. 2016

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Another side to the notion of therapy is that of healing space, or “Theraputic Environments” (Wbdg.org, 2016). Therapeutic or health care facilities are designed not only to support and facilitate patient care and safety, but also to embrace the caregivers of the patient, the family of the patient, and the patient themselves in a psycho-socially supportive environment. Such an environment cannot be neutral – the effect of a space can be negative or positive towards the outcome of therapy. A healthcare environment is therapeutic when it can provide the following precepts: “supports clinical excellence in the treatment of the physical body”; “Supports the psycho-social and spiritual needs of the patient, family, and staff”; and “Produces measurable positive effects on patients’ clinical outcomes and staff effectiveness” (Wbdg.org, 2016).

WBDG writes that “Therapeutic Environment theory stems from the fields of environmental psychology (the psycho-social effects of environment), psychoneuroimmunology (the effects of environment on the immune system), and neuroscience (how the brain perceives architecture). Patients in a healthcare facility are often fearful and uncertain about their health, their safety, and their isolation from normal social relationships.” (Wbdg.org, 2016). Research over many years by the likes of Center for Health Design, Texas A&M University’s Center for Health Systems Design, the Academy of Neuroscience for Architecture, and by a growing number of architectural firms and their clients has established that there are four key factors which can measurably improve therapeutic patient outcomes, when applied to architecture and the design of space. These four factors are as follows: Reduce or eliminate environmental stressors as much as possible; provide the patient with positive distractions; Enable the framework for social support; Provide the patient with a sense of control. There are also a few more specific environmental factors which have shown to have a positive effect on not only the patients, but also staff at facilities where they are employed. These are: Access to daylight, Noise reduction, even lighting, appropriate use of technology, providing ‘pause areas’ for quiet moments, and proximity to other building inhabitants. Many of these factors happen to align with factors which are beneficial in building design for the disabled (that is physically, mentally, visually, and hearing impaired), as laid out in the “Designing for Disability” Chapter.

In terms of how to implement the four key factors described above, WBDG offer some simple yet ingenious solutions. For reducing environmental stressors, they suggest using artwork to enhance the soothing nature of a space and provide a pleasant distraction from waiting times. They put forward the encouragement that public spaces such as gathering spaces and waiting rooms should be generous enough to avoid the anxiety that often

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accompanies overcrowded spaces. They suggest spaces of visual and noise privacy to provide quiet space for contemplation and rest. They also advocate for good lighting and air quality, to reduce subconscious environmental stressors. (wbdg.org, 2016) Providing positive distraction often comes in the form of visual cues such as being able to look out onto a garden or green space, observing artwork depicting nature or photography of natural scenes. It may also come in the form of meditation, physical movement, gentle classical music and exposure to pets (wbdg.org, 2016) Enabling social support comes mainly through the creation of culturally appropriate spaces which foster a sense of community. It is also suggested that spaces specifically for social interaction are created – pause areas, large open gathering areas, and communal kitchens or dining rooms (wbdg.org, 2016) With regards to giving users a sense of control, WBDG writes that “the built environment should provide clear visual cues to orient patients and families, and guide them to their destination and return. Landscaping, building elements, daylight, color, texture, and pattern should all give cues, as well as artwork and signage”. This ties in neatly with requirements for designing for the visually and hearing impaired as laid out in the “Designing for Disability” chapter. They also suggest creating spaces in which users can store their personal belongings as this goes a long way to fostering a sense of ownership of a space (wbdg. org, 2016).

If these strategies are implemented correctly in the designing and furnishing of therapeutic spaces, it is surmised that the outcome of that therapy will veer more towards the positive than the negative

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The choreography of architecture AN ESSAY

Figure 10: Overlay 3. Holman, M. 2016

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*Note that this essay is an edited and much-expanded version of my own academic essay titled “Rhythms and Plays” (2015) for the course ARPL4002 of the Bachelor of Architectural Studies (Hons) degree at the University of the Witwatersrand.

Architecture is often described by aligning it analogically to the arts – for example, to language and music. There exist numerous examples of great architectural works created by using the arts as inspiration. I will focus on the art of dance, and in particular, the idea of choreography within dance. This specifically within the form of ballet as that is where my training and expertise lies. Further, I will explore choreography as it pertains to architecture, in order to understand how the ideals in choreography may relate to, and perhaps even influence, architectural design. I would use this understanding as a tool to inform my thesis by design. A key work to help answer this line of inquiry is Evelyn Gavrilou’s (2003) paper titled ‘Inscribing structures of dance into architecture’ in which she asks the question “Can choreo[graphy] contribute to spatial theory in architecture?”. Currently, this particular line of inquiry and its related body of knowledge is very sparse, with Gavrilou’s paper being one of the few to align choreography and spatial theories directly.

Before I continue, it is important to define certain concepts. For the purposes of this report, ‘dance’ can be broadly defined as the movement of the human body through space.

‘Choreography’ is the guidance or instruction of the pattern of movement.

It may seem a strange notion to compare architecture and dance. Architecture is most often thought of as something which exists through the ages, solid and hard-wearing, only to be worn down by time (the most prominent examples being ancient Greek and Roman architectures).. Dance, by contrast, is fluid, changing, malleable, and ageless. Architecture is often considered to be driven by changing times and technologies, whereas ballet is rooted firmly in the classical. How could these two apparently disparate concepts possibly align?

Figure 11: George Balanchine. Swope, M. 1983

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The answer lies in choreography. One needs only to think of the great masters of choreography to see the likeness. In ballet, the works of great choreographers such as George Balanchine (famous for Apollo and Serenade) (Biography.com, 2016), Marius Petipa (widely considered the “father of Russian ballet” (no author, 2007), and for works such as The Nutcracker, The Sleeping Beauty and Don Quixote), and Sergei Diaghilev (creator of the Ballet Russes and choreographer of Rite of Spring) (BalletRocks. 2011) continue long after their deaths. It is the same even for more recent choreographers of contemporary and modern dance such as Alvin Ailey, Martha Graham and Bob Fosse. Their works may have been tinkered with and adjusted (and even completely re-imagined) over the years by other choreographers, but that is only the same change as we see in architecture which survives over many years. It is often added to, patched up, or gutted completely, to be kept only in nam An

example of this is the recent (and highly controversial) Cádiz Castle Restoration by Spanish architect Carlos Quevedo Rojas (Archdaily. 2016)And so architecture and choreography can be seen to draw a parallel through the way in which they endure over time.

A second parallel is the consideration that architecture is an informant of human movement patterns. The way in which the walls, stairways, and openings are arranged can have an effect on the way in which human beings move through the space. For example, two walls placed close together can form a corridor, a funnel for movement. A sweeping staircase may entice a user of the building to explore the upper level, whereas if the staircase had been hidden, that enticement would not exist. Similarly, a window placed in just the right position to capture a view would likely garner many a lingering moment at that window to observe the world beyond. In antithesis to that, architecture can be used to prohibit movement through or towards a certain area, or to create a sense of unease that may encourage building users to move through a space more quickly than usual (whether by intention or not is dependent on the example). Choreography can also be used to create these ends.

Coupling of certain steps together just feels right within a dancers’ body, and can often give clues as to the steps, direction and tempo which is to follow those steps. A combination of steps together can elicit a strange desire for the body to follow through of its own accord to complete the sequence. In the same manner, certain steps grouped together create a sense of unease in the body that encourages a dancer to move quickly through a sequence.

According to Tschumi (1998), “the emphasis given to movement found in dance that is the elemental means for the realisation of space-creative impulses, for dance could articulate order and space. The parallel made between the dancer’s movements and the more traditional means of defining and articulating space such as walls or columns, is important.”

I move easily from the idea of structure and order into the idea of emotion. The idea that architecture itself can be used to elicit an emotional response, just as any other art form can is intrinsic to my report. Clearly choreography holds the power to elicit emotion from people.

An architecture which is intended to do the same is often referred to by the term ‘phenomenology’. Ersoy (2011) writes that “architectural space is a ‘spatio-temporal form, interweaved of time, space and successive events within’. Such a description indicates the phenomenal roots of architecture … Within this conception, the problem of architectural space can barely be understood without recognising the issue of embodiment.” This presents the notion of experiencing space with ones’ body by moving through it (much as dancers do), as well as introducing the idea of phenomenology. According to The Basics of Philosophy (Mastin, 2008), “Phenomenology is the study of experience and how we experience. It studies structures of conscious experience as experienced from a subjective or first-person point of view, along with its ‘intentionality’ (the way an experience is directed toward a certain object in the

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world). It then leads to analyses of conditions of the possibility of intentionality, conditions involving motor skills and habits, background social practices and, often, language.”

Phenomenology allows for the notion that each person is shaped by their own unique experiences, culture, and upbringing. As a result of this uniqueness, no one person can possibly experience anything (be it a space, dance, image, object, or emotion) in exactly the same way as any other person. Both dance and architecture are arts which can be so multi-layered with metaphorical meaning that they can each allow for any number of interpretations, or the creation of emotions layered with meaning. Phenomenology allows that, although both choreographer and architect may not be able to predict with exactness the emotional response elicited by each person who observes their works, they can create an object (or work, in this case) so layered with meaning that some emotional response will be created. Of course their ideas of emotion are affected by their own uniqueness, but with enough research and layering, it is certain that an emotional response could be elicited by the works’ intended audiences. And so becomes clear the third parallel between dance (and thereby choreography) and architecture.

A fourth parallel to be explored is the way in which dancers tend to have an innate, learned, spatial awareness. The art of dance is one which creates a heightened bodily awareness, which comes from using the body to move through space in such varied ways.

“The body is the instrument for the production of form while, at the same time, the experience and communication of the experience of the body is expressed as an aim of movement. Thus, dealing with dance in the context of architecture is aimed at bringing a richer understanding of the body to bear upon our descriptions of spatial experience and upon our treatment of such experience as an end of design formulation” (Gavrilou, 2003).

As a dancer, and a teacher of dance, I am always aware of my body’s passage through space. This is an innate sense that has been developing since the age of four. This extra-spatial awareness is usually linked to the movement of people and the stationary nature of the built environment. It is always informed by the ingrained rhythms thereof – rhythms of form, and rhythms of solid and void. Rhythms of the footsteps created by the choreography enforced upon humanity by the things we have made: the music of wind around corners; voices echoing off floors, walls, and ceilings; laughter soaring over head into open spaces. The music and rhythms of our built world inform the experience of a space, much as the music and rhythms used in dance inform the choreographer of where they wish to direct their piece.

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An architect may also have this innate spatial sense, although it resides within their mind as well as within their bodily experiences. Their ‘choreography’ of architectural elements

into a final form may be influenced by site, context, culture, ideology, proportion, and any other number of factors. This inasmuch as music, rhythm, culture, context and ideology may influence a choreographer’s work. Perhaps the best way to fully understand this concept is to explore a building using some of the tenets which may influence a choreographer. Using my innate spatial sense as well as the tenets described below, I will attempt to understand the choreography that is the Soweto Theatre, by Afritect. I acknowledge, and intend, that the understanding gained is one informed and formed by my unique learnings, experiences, culture and passage through the world, as allowed for by the philosophy of phenomenology.

As outlined by Beaumont and Idzikowski in The Manual (2004), the five tenets of good choreography and performance are musicality, rhythmicity, technicality (or virtuosity), balanced proportion, and artistry. These tenets can be paralleled neatly to architecture – context, rhythmicality of elements, feats of construction, proportionality and emotion elicited, in that order. I will attempt, therefore, to examine these elements through a dancer’s eye.

The prelude view of the theatre from the road successfully sets the tone for the entire piece, and that tone is playful. The use of bold primary colours sets the piece apart from its surroundings, and forces the eye to engage with its clustered but grounded box-like forms. The image is both “beguiling and enticing” (Singhal, S. 2012). The piece does not sit within its landscape, but instead projects upwards from it, bound and held on both sides by sweeping shapes. This is the only piece of this scale and virtuosity in the immediate context, and as a result, it stands out and does not shy away at all from the image it is projecting. It seems as though it is paused, waiting expectantly to burst forth into movement from its static pose. It leaves the audience in anticipation for the movements that are to follow like an enticing prelude.

Figure 12: North Elevation Sketch. Holman, M. 2016

The opening movement is also presented playfully, with an open-air foyer protected from the elements by sweeping, dipping fabric. It displays a panorama whose proportions are not entirely equal, as a result of the offset created by the fabric sails. This inequality creates a certain tension which is intriguing, drawing the audience in, encouraging them to be active participants on the journey that the architecture-choreography is creating. At this early stage, there seems to be little attention paid to the rhythms of the surrounding context. In fact, there is apparent a certain arrhythmia of form and proportion, once again contributing to the sense of intrigue. It creates a wonderful presence, and introduces the idea that potential exists for the rhythms to be refined and resolved when the audience is immersed deeper within the work. It addresses a grand notion of the creation of a public face, a threshold between external and internal, which is achieved with a certain aplomb.

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Figure 13: Stringio. Unknown.

Figure 14: Site Plan. N/A. 2012.

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Figure 15: Untitled. 2012.

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Once the audience has been thoroughly enticed to enter the work and continue on the journey prescribed by the architect-choreographer, the purpose of the external disproportionality and arrhythmia in the prelude and first movement is made at once apparent and clear. It is a result of the internal tensions of the work – within the rhythms of solid and void, there coexist three major space themes. These three spaces, for the creation of physical art in the form of theatre, dance and music, coexist together within the main piece, each smaller than the last. The largest of the three – the theatre – holds the centre, grounding the rhythm of solid to void, providing a base from which the other two spaces can radiate and amalgamate their individual rhythms. Once this melding of rhythms is made apparent, the seeming discord expressed earlier in the piece is resolved as understanding is achieved by the audience. However, is still seems as though the piece is poised on the edge of the precipice, waiting to leap towards its soaring climax.

The technicality of the piece is impressive, with two great curving ‘servicing’ wings cupping the three box-themes. They curve both horizontally and vertically, a wonderful feat.

As identified above, the three box themes appear as completely separate entities in the initial movements, but resolve to be simply separate spaces housed under the same canopy. Given the context of Soweto’s “township within a township” (Singhal, S. 2012), it is an exciting and innovative architectural technique which has the potential to inspire similarly creative architectural choreography in years to come.

Figure 19: Untitled.

The costuming is vibrant, and an equally technical achievement. According to the choreographer-architect, Afrinet (2012), 400 000 porcelain tiles were individually laid by hand, by local trade- and craftsmen to create the glistening primary colour coats that the main themes wear externally. Unfortunately, the costuming is just slightly too brash, and seems as though it may not age well over time and with repeated use. It seems jarring in relation to the musicality of the piece’s context. The choreographer-architect states it was the request of the patron-client, the Johannesburg Property Company, that the piece stand out, and be distinctive amongst pieces of a similar nature. While the costuming certainly helps the piece achieve this notion, it is my opinion that it could have achieved a similar outcome with slightly more sensitivity to the technicality, musicality and artistry of the piece. As it stands, the costuming tends to overpower these aspects.

Conversely, the interior dressing of the spaces is completely appropriate to the nature of the actions housed there. Its vibrancy is not over-powering, but rather enhancing. It creates a climate of heightened excitement and anticipation for the theatre and artistry that is to be displayed within the individual themes.

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The bright costuming expressed on the exterior (page 24) is continued within the spaces in order to define the box-themes clearly and make negotiating the piece a simple exercise.

The continued use of colour also defines the solid-void relationships of the internal choreography, making the relationship between interior and exterior all the more clear.

What seems to be missing from the performance as a whole is the sense of exceptional artistry which accompanies truly great pieces. In the Great Works, all of the tenets may or may not work together, but are ultimately exemplified and augmented by the artistry in order to become a completely cohesive unit. There is brashness and a jarring nature in some of the proportionality and overbearing costuming which renders null the artistry displayed in the technical prowess of the curved ‘wings’. The sense of anticipation created by the form-making and placing is certainly artistry, but it is insufficient to completely eliminate the slight sense of unease created by that same form-making. The sense of excitement and freedom created by the internal spaces is indeed a triumph, and here the artistry does overcome any unease. However, the choreography of the spaces – the themes – still fails to drive the work to its ultimate finale, and it is those themes through which the audience has to progress in order to reach the true artistry. As is often said, ‘first impressions count’, and the slight sense of unease created in that prelude and opening movement is never quite dispelled through the journey of the choreography.

All is not lost, however, as the social function of the piece has yet to be discussed. Great pieces are about more than just the five tenets, really. In modern society, there is a pressure on choreographers to deliver socially aware, socially sustainable, thought-provoking pieces which provide a deeper message. In the case of Soweto, there was a clear and desperate need for the community to be given a platform upon which to formally present their own great works. The piece has done precisely that. One simply has to look up the current playbill and audience numbers (www.sowetotheatre.com. 2015.) to see that the Soweto Theatre has achieved its purpose. It has been hugely well received in the community; a new bastion of cultural expression within the community. The clear embracing of the piece by the community is testament to its success as a socially aware and sustainable, thought-provoking piece of work.

Afritect have created an architecture which attempts “to reinvent a plausible relationship between the formal and the social” (Koolhaas and Whiting, 1999). Soweto has a rich history of performing arts – it is the home of Pantsula and Kwaito dance forms (according to Saldanha, D, 2011). By their nature, these are highly social activities which have not previously been afforded a formalised platform within their own ‘home’. The Soweto Theatre may not successfully deliver all that is desired in the sense of eliciting a truly memorable emotional reaction, as exceptional pieces do. It does, however, achieve spectacularly on

Figure 16: Untitled. N/A. 2012.

Figure 17: Internal Foyer. 2012.

Figure 18: Theatre Interior. 2012.

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the front of offering a fun, playful, free-but-formal space for members within and without the community to showcase their great pieces.

This exploration of an existing architecture using choreographic ideals as a critiquing method goes some way to demonstrate that perhaps choreography, and therefore dance, can be used to widely inform architectural design. Another method, which seems obvious but is rather difficult to achieve, is using dance movements to inform the form and arrangement of architecture. This is what Gavrilou (2003) began to explore in her paper by comparing the choreographic styles of two seminal dance choreographers, namely George Balanchine and Merce Cunningham.

Figure 20: Antic Meet/Cunningham. Unknown. 1958.

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Balanchine (1904-1983) was a Russian-trained dancer and musician. He danced for many notable companies, and at the age of just 21, became the choreographer for Diaghilev’s Ballet Russes. After the Ballet Russes dissolved, Balanchine started a company called Les Ballets. After a performance, an American dance lover by the name of Licoln Kirstein approached Balanchine about collaborating. Together, they started ballet schools and companies, and in 1946, started the company which would become The New York City Ballet, one of the world’s most renowned ballet companies (Biography.com Editors, 2016).

Balanchine had a choreographic style which was very classical and formal in nature, melding into the chosen music seamlessly. Of his style, Gavrilou (2003) wrote that “many of Balanchine’s choreographies are composed from one elegant picture or pose to the next…

Movement can be perceived to occur so as to bridge between such privileged moments, and in turn the privileged pauses can be perceived as culminations of motions. This implies that dance is treated as primarily visual not only in perception but also in conception… The emphasis is on overall harmony, including a good fit between pictorial image and music… the visual composition of the dance and the unfolding of movements is more important than the potential narrative contents”. It was also said that “to see Balanchine’s choreography of the Movements is to hear music with one’s eyes; and this visual hearing has been a greater revelation to me, I think, than to anyone else. The choreography emphasises relations of which I had hardly been aware … and the performance was like a tour of a building for which I had drawn the plans but never explored the result” (Stravinsky, 1966:24). Thus is demonstrated how Balanchine’s choreography has ties to the built world in certain ways.

Cunningham (1919-2009) was an American dancer and choreographer who had his initial dance career with the Martha Graham Dance Company. During his tenure there, he had the privilege of debuting some of his early solo choreographic works, and developed a strong relationship with the composer Cage. Over the years he developed a very unique choreographic style, forgoing the use of music while choreographing and often only putting the music and the dance together at a final rehearsal, or occasionally only during perfor-

mance (Biography.com Editors. 2016). “The dance is not treated as an interpretation or visualization of the music, nor is the music treated as a rhythmic, narrative or descriptive scaffolding for evolving the dance. [He] allows sound to be present as yet another layer of a composite and multi-sensory morphology” (Gavrilou, 2003:32.4). His style was seen as incredibly avant-garde as a result of this, and received huge acclaim from audiences across the world. Through his life, he continued to innovate, using computer-aided animation to perform sequences ad nausem - impossible for dancers to do because of the physical exhaustion created by such endeavours (Bibliography.com Editors, 2016). Of Cunningham, Gavrilou writes the following: “The choreographies by Cunningham are built upon a continuous inquiry as to the potentials of the human body… The movements of different parts of the body are often elaborated independently of each other, through a process of combination. Thus, the evolving lexicon of moves is open-ended, dense and provisional… [His] choreographies suggest a tension between local and global dimensions of spatial order” (Gavrilou, 2003:32.4).

Clearly, the styles of each choreographer are contrasting, and each come from a very different point of view and background, and yet they both have elements which can relate firmly to the world of architecture. Gavrilou goes on to explore Foster’s (1986) search for “fundamental paradigmatic shifts”. Foster (1986) contrasts Balanchine’s and Cunningham’s views on technique, body, and expressive or emotional aims. The former, according to Foster (1986), views technique as a means to attain control and thus achieve the “privileged moments” previously mentioned and the body simply as vessel to achieve them, while his expressive aims were to create harmony and resonance of image. The latter, per Foster (1986) views technique as the ability of a dancer to create highly articulated body movements which related well into his distinctive independent movement style. He viewed the body as a huge potential force with the ability to create entirely novel movement structures. His expressive aim was to create intense clarity and enunciation of movement. The importance of Foster’s (1986) exploration was to highlight that the body, and by extension the perceived spatial experience can be treated not only as something biological and constant, but as something influenced by culture. If different choreographic standpoints imply different positions regarding the concept of the human body and the way it moves through space, then it is possible to imply that the spatial experience can be used in different ways to read a spatial setting.

Gavrilou (2003) followed this line of thinking by enquiring whether the different standpoints discussed above could be used to influence the way in which the architectural object is described, designed and formed. She used a very simple scenario – a single office space which needed to be subdivided. She considered the design question to be an elementary

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one, around the ways in which “the live-in experience of the space can inform the design of the boundary and the intentional manipulation of the morphology of space use and spatial experience that will unavoidably issue from its construction.” (Gavrilou, 2003:32.6). She made the decision to use models of the body, models of movement, and her own unique spatial awareness that was a product of the study of dance to inform the way in which she dealt with the problem.

Gavrilou (2003) began the process by using the existing furniture layout and access points to key areas to map movement routes through the space. With this mapping, she identified nodes of highly clustered activity, which would be the points to be preserved (in other words not interrupted in terms of movement and sight lines) by the partition. Here she reiterates that “the design question is how to interpret, render and qualify this unavoidable structural change in terms of spatial experience” (Gavrilou, 2003:32.6). Her mapping, and in fact the procedure throughout, is fundamentally diagrammatic. She uses diagrams to understand the shift from choreographic examples to an understanding of the spatial experience, in order to achieve a richness of new potential experience in what would otherwise be a simple and boring partition.

The next step was to choose a work from each of the aforementioned choreographers and represent that diagrammatically in terms of ‘reading the setting’. This was accomplished by representing individual frames of movement and then connecting them with single line which mimicked the “typical sequences of movement and connection between them” (Gavrilou, 2003:32.7). She described this process as “diachronically dispersed snapshots of everyday life” which are merged together to create a single snapshot to represent a whole idea. This snapshot of frames is then drawn as a folded surface which can be interpreted in two ways: as a combination of typical perspectives, or a layered pattern, whereby each object distorts the other until they are an identifiable unit despite their differences.

Gavrilou (2003) then went on to conceptualize the partition as an intentional interruption of the existing movement patterns she had mapped previously, using the snapshot diagrams as an informant towards the form of the partition. She used some of the frames (or snapshots) to create openings (for example where one seemed particularly expansive) which became the definitions for new micro-frames. These diagrams (or frames or snapshots) had at this point come to a form which could be more architectural in representation – both a plan and an elevation.

The next step Gavrilou took was to transform the solid portions of the proposed interrup-

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tive partition into portions which could be movable – dancers in their own right – in order to re-establish her mapped connections as and when users felt the need to make those connections. And so her simple partition became an interactive object which allowed space users to create their own movement patterns and dances within a very conventional space.

Once complete, she acceded that the more interesting exploration of this method of transferring dance to form and back to ‘dance’ again would come about through her own further design explorations.

Returning to the question of whether choreography, and therefore by extension dance, can relate to and even influence architectural design (in process and final execution of the object), it has become apparent that it is indeed possible. In fact, it can be both incredibly evocative and exciting. In both Gavrilou’s (2003) method (of transferring choreographic examples into a usable design process), and my method (of applying choreographic principles to better understand existing structures show how choreography, and by ultimate extension, dance (see pages 23 to 25)), it is clearly demonstrated how dance can be incorporated into the architectural design process (and beyond). Not only can dance structures inform the architectural object, they can create layered meanings within the object of sight lines, spatial experience, boundaries informed by movement options and more. It is my intention to use this understanding and methodology to inform my own thesis design project moving forward.

Figure 21: Diagrammatic representation of partiton. Gavrilou, E. 2003.

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a h i sto ry o f sp r i n g s

Figure 22: Overlay 4. Holman, M. 2016

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Figure 23: Springs in the Greater Context. Holman, M. 2016

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Figure 24: Second Avenue, 1907

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Figure 25: Second Avenue, 1934

Figure 27: Century Bioscope, Second Avenue, 1936

Figure 26: Council Plan of East Rand with all mines, 1935

Figure 28: Third Street original Springs Theatre, photographed in 1957

Figure 29: HF Verwoerd Theatre, Second Avenue, 1958

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Figure 30: Palladium Opening Show, 1937

Figure 31: Palladium Theatre, 1957

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Figure 33: Daggafontein Headgear, 1967

Figure 32: Springs Fashion, 1975

Figure 34: Zona Visser Cabaret Star, 1965

*Note that all information represented here and in the timeline is gathered from the book titled Springs 80 years on, published by the town council in 1979. Historical information on the town’s development thereafter is sparse and incredibly difficult to come by.

As demonstrated by the timeline on the pages 38 and 39, Springs was established as a mining town, when coal, and subsequently gold, was discovered in the region. This mining history has remained long after the minerals in the earth were depleted by the continuation of Springs town as a hub of manufacturing and industry. With the mining industry growing at a rapid rate, there emerged a need for entertainment for the rapidly-increasing population, and culture flourished in the town. The first stage theatre opened in 1922, followed by the Century Bioscope in 1936 and the Palladium Theatre (a moving picture theatre) in 1937. Over the course of the next twenty years, the Palladium would prove to outlast the Bioscope, and was widely considered to be the cultural epi-centre of Springs. In 1958, the HF Verwoerd Theatre (now the Springs Civic Theatre) was opened, and eclipsed even the Palladium as the cultural hub of Springs, owing to the advent of the Cabaret shows which the theatre hosted. In 1967, the Daggafontein Mine, Springs’ largest mine, closed. This marked the end of Springs’ mining era, and the opening of an era of creative expression and innovation, especially on the music front. HF Verwoerd Theatre moved away from showing Cabaret shows, and tended to orchestral and choral showings.

This period marked a period of transition for the town, as Springs morphed from a mining town into a town dominated by manufacturing and industry. As it became more and more dominated by industry, the cultural side of the town seemed to die. The HF Verwoerd Theatre had its orchestra pit widened and had offices and a new coffee shop added in order to attempt to once more stimulate some interest in the arts. The most recent artistic addition to the Springs cultural landscape occurred in December of 2013, with the Synagogue on First Avenue reopening as the Springs Gristelike Teatre, just one block away from the former HF Verwoerd Theatre. This seemed to mark an upswing in the desire for cultural intervention in Springs, and provided the impetus for the proposal of a new cultural hub in the heart of urban Springs.

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i n s p i r at i o n s : PRECEDENT STUDIES

Figure 35: Overlay 5. Holman, M. 2016

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Figure 36: Render. Unknown. 2011

Laban Dance Centre Building Data: Architect: Hertzog and de Meuron Location: Deptford Creek, London, England Client: Laban Centre, London, UK Completed: 2003 Gross Floor Area: 8200m² Building Dimensions: 80m x 40m x 14m Landscape Architect: Vogt Landscape Architects Façade Artist: Michael Craig-Martin The Laban Dance centre is located in a mostly-residential area of London, on the south bank of the Thames River. One may imagine, from a distance, that the building is another industrial warehouse, but as you approach, it becomes obvious that it is not. The building is conceived as a mass with an independent wrapping. The façade is comprised of multi-coloured polycarbonate panels, and does indeed function independently to the mass of the building, having its own support system entirely separate to that of the building structure.

The main façade has been created in a gentle curve to envelop the external piazza and to shelter it slightly from the street. There are very few openings at ground level, making the entrances and exits obvious.

According to Arcspace, in terms of planning, the 300 seat theatre forms the “literal and metaphorical” (Arcspace, 2005) heart of the building, with all other dance activity revolving around the theatre. The surrounding functions were conceived as an urban streetscape, given rhythm and orientation through the use of colour. Most of the dance studios are on the upper floor, with windows onto the corridors and natural light gained from the translucent or transparent façade. Each studio is different in size, form and colour, giving each a unique identity and determining its programme. Only certain sections, (café, Pilates studio and health suite) are open to the public on a daily basis, with the theatre being opened when works are produced.

Personally I find the façade treatment the most inspiring portion of this project. During the day, the building allows glimpses of the movement contained within through the transparent sections of the façade, whilst at night the building becomes a lit beacon, with all movement showcased to the public by the backlighting of the building.

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Figure 37: 00_centro_laban. Unknown. 2008

Figure 38: 05_centro_laban. Unknown. 2008

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Figure 39: 01_centro_laban. Unknown. 2008

Figure 40: 02_centro_laban. Unknown. 2008

Figure 43: 04_centro_laban. Unknown. 2008 Figure 41: 03_centro_laban. Unknown. 2008

Figure 44: 22_centro_laban. Unknown. 2008

Figure 45: 14_centro_laban. Unknown. 2008

Figure 42: 06_centro_laban. Unknown. 2008

Figure 46: 15_centro_laban. Unknown. 2008

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Figure 47: Unknown. Hursley, T. 2011

Dee and Charles Wyly Theatre Building Data: Architect: Rex / OMA Location: Dallas, Texas, USA Client: AT&T Performing Arts Centre Completed: 2009 Gross Floor Area: 7700m² Theatre Design: Theatre Projects Consultants, Connecticut The AT&T Performing Arts Centre Dee and Charles Wyly Theatre was created to rehouse the Dallas Theatre Centre. The main drivers for the design were a need for incredible flexibility and freedom in terms of staging and programming, as well as a need to keep operating costs to a minimum – two goals which at first appeared mutually exclusive.

They became mutually inclusive through a revolution of theatre planning. Instead of the front-and-back-of-house functions encircling the theatre space and fly tower as in traditional theatre, this theatre has them stacked above and below the theatre space. The architects refer to this as a “theatre machine” (Archdaily, 2011), because with “the press of a button” (Archdaily, 2011) the theatre space can be entirely transformed into nearly-limitless configurations, to fit the visions of directors and set designers of any production due to be shown there. This is achieved by the seating and stage portions being housed on moveable pneumatic presses which emerge through a removable floor. The performance area is also intentionally constructed of materials which are not ‘precious’ – they are intended to encourage alteration through various low-cost means such as painting, drilling, sawing, stitching and so on.

The main theatre space is housed on the ground floor of the building, which is encased in a fully transparent glass façade. This can be shuttered by hidden blackout blinds or have certain panels opened up so that the public or performers can access the stage and auditorium directly from outside the building. This visual and physical transparency enhances the freedom of expression that can be displayed by the creative thinkers who plan pieces to showcase in this theatre, as they can create true public artworks in a contained environment.

The effortless reconfiguration of the space is truly a game-changer for theatre. “On con-

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secutive days, the Wyly Theatre can produce Shakespeare on a proscenium stage or Beckett in a flat-floor configuration silhouetted against the Dallas cityscape� (Archdaily, 2011). Such is the power of the stacked configuration. Almost all of the back-of-house functions are multi-functional: a rehearsal room doubles as a black-box theatre, a conference room doubles as a control booth for the black-box theatre, a patron’s lounge can be used a secondary lobby to service the black-box theatre, and so on.

This flexibility is the ideal within the Wyly Theatre. I find it inspiring and hope to incorporate it within my own project. A community-based project must have the potential for endless flexibility, as the needs of a community are constantly changing and growing with the community itself.

Figure 48: Performance Chamber. Baan, I. 2011

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Figure 49: Untitled. Baan, I. 2011

Figure 50: Untitled. OMA. 2009

Figure 51: Progression. Holman, M. 2016

This progression of drawings and three-dimensional representations shows three possible configurations of the seating layout in the main theatre space.

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the art and culture precinct: AN URBAN INVESTIGATION

Figure 52: Overlay 5a. Holman, M. 2016

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Figure 53: Unknown. Unkown Author. 2016

The Maboneng Precinct (being a SeSotho word meaning ‘place of light’) is a gentrified zone in the south-eastern sector of the Johannesburg CBD. The area was mostly dilapidated industrial and retail zoning with small pockets of residential property. The gentrification began on the corner of Fox Street and Main Street, with the development of the Arts on Main building by Jonathan Liebermann, the founder and CEO of property development company Propertuity (Johannesburg’s Urban Renaissance. 2013). Arts on Main was created as an integrated mixed-used building: a hotel, loft apartments, penthouse suites, and studios on the upper floors and small businesses, restaurants, and culturally-driven functions on the ground floor. As indicated by the building’s name, it became a hub for creative thinkers and artists in the Johannesburg downtown. In addition to the building, a Sunday market called Market on Main was developed concurrently. The market (which has now become the Saturday Neighborgoods Market) is a place for local creatives and food lovers to tout their wares to the Johannesburg population.

The combination of the artistic, creative, mixed-use space and a market that was to become wildly successful, proved to be the catalyst for the development of the entire Maboneng Precinct. Today, Maboneng is a cultural hub. It is home to artists, fashion designers, a small theatre called PopArt, several niche restaurants, artisanal crafters (of all things from bread to jewellery to beauty products), and even South Africa’s only independent cinema, The BioScope. It has become a popular tourist-and-resident attraction, drawing crowds from suburban Johannesburg into the CBD (Coustas, W. 2015).

The key to this success is not only the mixed-use model, but also the nature of the tenant which was enforced by the developer (in other words, the management of the precinct).

There was a specific drive for Maboneng to be a creative precinct, occupied by people involved in arts and culture. The people who run the artisanal retail spaces and restaurants also live and play in Maboneng – they sustain its day-to-day survival. This integration of live-work by creatives meant that Maboneng has become a precinct infused with a certain intangible yet exciting vibrancy. The residents poured their spirit into the area and it flourished and became attractive and appealing for outsiders to come in (Coustas, W. 2015).

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Maboneng is proof that an arts precinct, done well, will draw people in and keep them coming back for more.

In terms of technical planning, the appeal of the precinct started with small upgrades – ensuring working street lights, installing twenty-four hour security guards, replacing broken windows and painting the facades of the buildings. These upgrades continued into planting trees on the sidewalks, ensuring well-lit walking environments, providing ample dustbins and installing benches on the sidewalks in order to make Fox Street a much more pedestrian-centric zone. The ground floor tenants were also encouraged to allow their business to spill out onto the sidewalk, creating a vibrant and engaging urban experience.

This model is entirely applicable to the Springs site. The site condition is much the same as it was in Maboneng, with small residential pockets in a mostly dilapidated industrial area, but with the added bonus of an existing base of cultural activity in the form of the two theatres. The area is ripe for re-development, and the proposed centre could be the catalyst for such change.

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Figure 54: Unknown. Coustas, W. 2015

Opposite page: The sidewalk outside the BioScope cinema

Figure 55: Unknown. Coustas, W. 2015

This page: Maboneng’s vibrant sidewalk experience

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Figure 56: Unknown. Market on Main. 2011

Top: The then Sunday market, Market on main Bottom: The rebranded Saturday market, Neighbourgoods Market.

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Figure 57: About Fullscreen. NeighbourgoodsMarket. 2016

SITE SELECTION: MAPPING AND URBAN CONTEXT

Figure 58: Overlay 6. Holman, M. 2016

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Figure 59: Main Transport Routes Between Joburg and Springs. Holman, M. 2016

Figure 60: Clusters of Dance Schools and Theatres. Holman, M. 2016

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Figure 61: User Catchment Area. Holman, M. 2017

The ‘target population’ for this complex is described as being those people with mental, physical, sight and hearing impairments and disabilities. People with these ailments mostly reside in (but are not limited to) special facilities or homes which deal directly with their disability. This map shows the immediate catchment area of springs, with Retirement and Old Age homes, Epilepsy South Africa, and Quadriplegics South Africa marked out. It also notes the local townships and informal settlements, as often people with disabilities are relegated to the outskirts of society, so this is a plausible consideration for a catchment zone. It is assumed that as this facility is the only of its type in Gauteng, the catchment area will expand beyond the immediate urban context highlighted and into the greater Johannesburg area. This catchment is too extensive to document adequately here, but it is a certainty that it would exist to those who might need to make use of the particular nature of this facility. Some of the larger homes for the disabled have been highlighted in order to give the reader an impression of possible users.

The Google search terms used to compile this map include: homes for the disabled, schools for the disabled, schools for the deaf, schools for the blind, old age homes, retirement homes, schools for the mentally handicapped, facilities for the disabled. These search terms were all followed by the identifier of ‘Gauteng’.

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Figure 62: Springs Civic Theatre. Google Street View. 2009

As previously stated, the requirements for the site selection are as follows:

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The studio complex should be located in an urban area in order to integrate well within the existing communities and proposed building users.

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It should be easily accessible by road, bus, taxi, and even train.

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There should be ample parking nearby.

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In order to make it more viable for use in a relatively small community (when compared to Greater Johannesburg), it should be able to make easy use of an existing theatre space so as to avoid doubling up on infrastructure that would result in disuse.

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If possible, there should be open space (or easily re-developed space) nearby in order to allow for the development of an urban framework for an Arts and Culture hub (similar to the Maboneng concept in Johannesburg). The proposed studio complex would be a catalyst for the future implementation of the urban framework.

Considering all these parameters, there is an ideal site in the old Springs CBD. It is located adjacent to the existing Springs Civic theatre, on the corner of 7th Street and 2nd Avenue, with 2nd Avenue being a main traffic arterial. This site meets all of the parameters laid out above.

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Figure 63: Site Location. Holman, M. 2016

Figure 64: Transport Hubs. Holman, M. 2016

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Figure 65: Greater Site Context. Holman, M. 2016

Figure 66: Immediate Site Context. Holman, M. 2016

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Figure 67 : Proposed Cultural Precinct. Holman, M. 2016

In order to make the concept of this building viable, an Urban Framework needs to be created in order to support the primary programmatic functions of the proposed therapy studio complex and existing theatre.

This proposal puts forward a three-block area of the old Springs CBD to be demarcated for future development as an Arts and Culture Precinct. This area has been earmarked for development (by me, in this project) owing to the existence of two theatres in close proximity to one another, which will form the primary programmatic functions for the precinct.

The catalyst for this redevelopment phase is the introduction of the proposed therapy studio complex. It is proposed that the future anchor tenants for development will include a music school, drama school and art school, which will all make use of the existing theatre spaces when required for performance (and possibly even exhibition) space.

Planning allowances to be included in this precinct: • Buildings are to be set back from street edge to allow a pavement wide enough for

two wheelchairs to pass unhindered, as well as to allow for planting and occasional seating.

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All pavements must have cut-aways to allow for easy access with a wheelchair.

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All pavements must have adequate street lighting to provide a safe night time

environment, thus helping to create an environment compatible with vibrant night life.

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All parking zones must have trees planted where ever possible, and may also include sculpture installations by local craftsmen and artists. This is to ensure that parking spaces can be easily transformed into comfortable transient market areas in the future.

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Where possible, a dense urban and public grain must be established at ground level in order to create small supporting programmes which further support the core programmes or functions. The concept here is that the primary programme may bring new users to the area on occasion, but the small supporting programme will ensure repeat users on a consistent basis. This includes all manner of programmes, such as:

o art shops; o music shops;

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o cafes; o restaurants; o art galleries; o craft markets; o crafting supply stores; o hardware stores; o movie theatres or bioscopes; o artisanal bread shops; o breweries; o alternative clothing stores; o interior design stores; and o many more besides.

• Traffic lights must have integrated pedestrian button-presses in order to allow for easy circulation by pedestrian users, and must allow ample time for disabled users to cross the street.

• Where intersections do not have traffic lights, pedestrian crossings must be implemented.

• Covered walkways must be provided, where possible, to ensure comfortable walking conditions.

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Areas appropriate for informal trading should be demarcated.

Planning allowances that are to be excluded from this precinct: • Fences and boundary walls may not exist in the precinct. In order to create a rich urban fabric, accessible and transparent built form should form the block boundary, as opposed to impenetrable walls and fences.

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As with the Maboneng Precinct, discussed on pages 52 to 56, appropriate management of this precinct will enable its success, and is therefore paramount. Suitable management will ensure that the correct tenants take up residence within the precinct, in order to engender the sense of the cultural and creative hub.

Figure 68 : Existing Second Avenue Edge. Holman, M. 2016

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Figure 69 : New Second Avenue Edge. Holman, M. 2016

Viability study

Figure 70: Overlay 7. Holman, M. 2016

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Figure 71: Early Perspective Sketch. Holman, M. 2016

1.Project Brief It is proposed that an Urban Dance studio and movement therapy complex be developed in the Springs CBD to support the Springs Civic theatre, and to create a central zone for the enablement of recreational (and possibly even professional) dance. This includes the facet of dance movement therapy, which is “the therapeutic use of movement to further the emotional, cognitive, physical and social integration of the individual, based on the empirically supported premise that the body, mind and spirit are interconnected.” (Dance Movement Therapy Association of Australasia. 2016.). This is equally necessary in an area such as Springs, as it could service the wider East Rand area. There is an established conglomeration of facilities for the disabled (both mentally and physically) across the East Rand.

This is perhaps due to the slightly lower living costs as well as the effects of the mining lifestyle. In Springs alone, there are the Headquarters for Quadriplegics South Africa, and the Gauteng Branch of Epilepsy South Africa.

A dance studio of this nature would need to be inclusive of all. It should include facilities not only for dance, but also for the treatment of disabilities, such as physical therapy rooms, and an aqua-therapy swimming pool, in order to accommodate those with physical and mental disability. It should be close to main transport hubs so that those from the surrounding areas of Springs, Kwathema, Benoni, Brakpan and Boksberg have easy access to the complex. Ideally, it should connect directly into the existing Civic Theatre (a 300-seater theatre in a conglomeration of the Art Deco style – which is so prevalent in Springs – and International Style), in order to maximise the potential of the existing theatre.

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2. Site Selection See the previous chapter (pages 57-50) for a detailed breakdown of the chosen site.

3.0. Client Client: National Arts Council of South Africa Type: National agency mandated by the Department of Arts and Culture Founded: April 1997 Headquarters: 66 Margaret Mcingana Street (Cnr Gwigwi Mrwebi), Newtown, Johannesburg, South Africa Area served: South Africa Focus: Developing South Africa’s creative industry and promoting excellence in the arts Method: Funding and Enabling, Research Owner: Department of Arts and Culture (Government)

3.1. Objectives *(source: National Arts Council of South Africa Strategic Plan 2012-2016) Vision: To promote, through the arts, the free and creative expression of South Africa’s cultures.

Mission: To develop and promote excellence in the arts.” (National Arts Council Of South Africa) The objective of the National Arts Council of South Africa is to develop the creative industry of South Africa. They aim to achieve this by employing the following mandate:

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To provide, and encourage the provision of, opportunities for persons to practice the arts To promote the appreciation, understanding and enjoyment of the arts To promote the general application of the arts in the community To foster the expression of a national identity and consciousness by means of the arts To uphold and promote the right of any person to freedom in the practice of the arts To give the historically disadvantaged such additional help and resources as are required to give them greater access to the arts To address historical imbalances in the provision of infrastructure for the promotion of the arts To promote and facilitate national and international liaison between individuals and institutions in respect of the arts To develop and promote the arts and to encourage excellence in regard to these.

3.2. Organisation Structure & Operation The National Arts Council of South Africa (NACSA) is a Government agency that is a part of the Department of Arts and Culture. The NACSA is a government initiative, and is therefore funded by the public sector. The organisation employs twenty-five staff members, and the structure is as demonstrated over the page (source: Strategic Plan 2012-2016).

The organisation operates as a funding and support mechanism for NGO’s, businesses and individuals alike. A project of this scope would be a first for the NACSA, as they have never funded a built project before, preferring to fund businesses already established within a space. It is still considered within their scope of expansion as described in their Strategic plan for 2018, where there is intense focus on “support for infrastructure provision and development� (National Arts Council of South Africa Strategy 2014-2018) as a means to promote and encourage the growth of the arts sector in South Africa.

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In a project of this magnitude, however, it would be expected that the NACSA would approach other entities within both the public and private sectors for additional funding. These could include the Gauteng Department of Sports, Recreation, Arts and Culture, The National Lotteries Commission, Business and Arts South Africa (“BASA�), and/or The Arts and Culture Trust.

Figure 72: Organisation Structure. National Arts Council of South Africa. 2016

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Figure 73: Funding Hierarchy. Holman, M. 2016

4. Funding It is proposed that the funding for this project would become a joint partnership between public and private entities, at the request of the NACSA, as above (image by author).

The additional entities included here are included as they are well known for supporting the arts in South Africa. The National Lotteries Commission (a branch of the department of trade and industry) often awards funds to NPO’s such as the South African National Dance Trust. BASA is a secondary branch of the Department of Arts and Culture and moves to provide funding and support to those businesses that are primarily concerned with the arts.

The Arts and Culture Trust is the oldest independent funding and development agency of the arts in South Africa, and was established in 1994. It is a key role player in the continuation of development of the arts scene in South Africa.

This additional funding is necessary as the total funds of the NACSA have been spread over the various disciplines of art (over 10 years) as follows in the table on page 78 (source: Strategic Plan 2012-2016).

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Figure 74: Awards by Sector. National Arts Council of South Africa. 2016

5. Proposed Programme, Users and Basic Development Costs The proposed users of this building will be:

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private dance teachers;

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outreach dance teachers;

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school students (government and private);

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mentally handicapped (for example, those from the home associated with the Epilepsy Headquarters in Springs);

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physically handicapped (for example, those from the home associated with the Quadriplegics SA Headquarters in Springs);

•

outreach students from the local informal settlements such as Kwathema;

Building Programme

Public Foyer Restaurant Therapy Suite waiting room and circulation Courtyard Toilets Retail Gallery Parking / market space (38 bays) Semi-Private Large Dance Studio (x2) Small Dance Studio (x2) Indoor Hydrotherapy Swimming Pool Changing Rooms Reception Private Occupational Therapy Consultation Rooms (x2) Psychology Consultation Room (x1) Physical Therapy Consultation Room (x1) Administration Office Staff lounge/ kitchenette/ dining Storage Total:

total m² 300 250 90 670 170 430 110 1345 450 320 160 210 25

•

private members of the public who pursue lessons with the private dance teachers;

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one physical therapist;

•

one occupational therapist;

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one psychologist;

• the patients of the listed health care professionals; •

aqua-aerobics instructors; and

•

community outreach groups (for example for church services on Sundays; or as a venue for Alcoholics Anonymous (“AA”)).

In order for the project to be viable, the building must receive investment from the key role players already identified. The table on page 80 indicates a plausible funding structure (based on the outputs of the investors) that could be used to fund the construction of the dance studio.

40 20 20 15 110 100 4835

Figure 75: Building Programme. Holman, M. 2016

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Approximate Building Cost as per programme Typology m² Building Rates (R/m²) Total projected cost (Rands) Dance Studios and all amenities 700 15 300 10 710 000 Therapy pool room 150 8300 1 245 000 Staff Offices/kitchenette/break room 150 7800 1 170 000 Café 150 8500 1 275 000 Therapy Consultation Rooms 50 7800 390 000 Physical Therapy Rooms 50 11 600 580 000 Landscaping and exterior treatment 300 3200 960 000 Basement Parking 500 5500 2 750 000 Total 19 080 000 Figure 76: Approximate Building Cost. Holman, M. 2016

Funders National Arts Council of South Africa Gauteng Department of Sport, Recreation, Arts and Culture Business and Arts South Africa National Lotteries Commission Arts and Culture Trust Total Project Cost

Percentage of funding 10% 10% 5% 35% 40% 100%

Figure 77: Funders. Holman, M. 2016

6. Sources of income The table on the page 81 indicates the income that will potentially be generated by the building. Although it produces limited revenue, it will be sufficient to operate the building (rates and taxes, electricity and water, and refuse removal), pay building management, pay the bond, and offer the private investors a return on investment. *source: interviews with professionals in the fields mentioned

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Areas of income Large Dance Studio hire (available for 60 hours a week) x2 (paid by instructor) Small Dance Studio hire (available for 60 hours a week) x2 (paid by instructor) Café Rent Swimming Pool Hire (available for 60 hours a week - paid by instructor or therapist) Rent for Medical Consultation Room and amenities x3 Total Total possible income per annum

rate per day/hour/month Total possible monthly income (Rand)

R150/hour

18 000

R100/hour R7000/month

12 000 R7 000

R100/hour

R6 000

R9000/month

27 000 70 000 840 000 Figure 78: Areas of income. Holman, M. 2016

7. implementation

•

Civil Engineer

The Project Team:

•

Structural Engineer

•

Electrical Engineer

•

Mechanical Engineer

•

Quantity Surveyor

•

Fire and Safety Specialist

LEGAL TEAM • Attorney SPECIALIST CONSULTANTS •

Dance Teachers

•

Occupational/Physical Therapists

PLANNING TEAM •

Town planner

•

Land Surveyor

MANAGEMENT TEAM •

Construction Manager

•

Project Manager

CONSTRUCTION TEAM

DESIGN TEAM

• Contractor

•

• Sub-contractors

Architect (Principal Agent)

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The Specialist consultants will be needed to answer questions surrounding areas which the design team has no personal knowledge of, thereby enriching the design. The planning team will be responsible for the zoning of the land as well as surveying the land to ensure the site can be built upon. The design team will work hand-in-hand to ensure an integrated design in which all consultants can provide valid input to the project. The architect will be appointed as Principal Agent and will oversee the works of the consultants as well as keep the client’s best interest. A Construction Manager will oversee the works of the contractor and sub-contractors and will report to the Principal Agent on a weekly basis. The Project Manager will manage all stakeholders involved in the project and will ensure that deadlines are met and the site integrity is retained. For the election of a contractor, sub-contractor and major material suppliers, there will be an open tender process which will be transparent and unbiased. The contractor and sub-contractor will be selected on the basis of criteria first defined by the architect and quantity surveyor. The criteria will then vetted by a panel comprised of elected representatives of all of the funding bodies. One unconditional criteria will be that the appointed contractors must be local (and from the Ekurhuleni region, if possible). It is essential to include representatives from the local disabled and disadvantaged communities to ensure that their voices are being heard.

In terms of material choices, it would be beneficial to use existing precedent as a starting point. Many of the buildings around the site use facebrick construction, with glass and steel incorporated in their constructions, and as these materials are well known to South African builders, are also hard-wearing and low-maintenance, they seem an obvious choice for materials. In addition, there are many choices for local providers of these materials, for example Corobrik for bricks, PFG Building Glass (the largest producers of advanced float glass in Africa) in Springs and MACSteel in Boksburg. Beyond these major materials, it would be preferential to attempt to source fittings and finishes from the local community in order to further benefit the community for which the building is intended, and even further bolster the economy of the community.

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DESIGNING FOR DISABILITY

Figure 79: Overlay 8. Holman, M. 2016

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The term ‘disability’ is a broad one. In this research, it is intended to include people with mental disability or illness (for example, dementia, Alzheimer’s, cerebral palsy, and clinical depression), physical disability (for example, movement disorders such as Parkinson’s and Dyskinesia, amputees, and partial movement disability to quadriplegia), visual impairment (partial sight to full blindness), and hearing impairment (partial deafness to full deafness), and any combination of the above disabilities. It should go without saying that there are several specific design considerations which need to be made for each of these categories, but a good general starting point is the National Building Regulation’s chapter on designing for disability (SANS 10400-S 2011: Facilities for Persons with Disabilities).

The introductory note of part S reads “This part of SANS 10400 provides deemed-to-satisfy requirements for compliance with part S (Facilities for Persons with Disabilities) of the National Building Regulations.” (SANS 10400-S 2011: Facilities for Persons with Disabilities. Pg3) It is important to note that while these are the ‘deemed-to-satisfy requirements’, in many cases they may be the minimum requirement, and generosity may be preferable over the standards provided here.

Figure 80: Access signs. SANS. 2011

Figure 81: Height of Lettering. SANS. 2011

The regulations begin by drawing one’s attention to the requirements for signage. These include stipulations that buildings and facilities for the disabled shall have signage to that end, in other words, the universal disability sign, in addition to tags and direction markers (as displayed in figure 80). Note 2 under section 4.2.3 states that “Signs should be in clear, visible and tactile format to ensure that persons with visual impairments are also fully informed. In buildings where persons with visual impairments work or live, evacuation instructions in large print and Braille should be provided, so that persons with visual impairments can familiarize themselves with escape routes.” (SANS 10400-S 2011: Facilities for Persons with Disabilities. Pg9). The regulations also stipulate the height of lettering on signs so as to be read by the visually impaired (see figure 81), and stipulate that the height of such signs adjacent to doors or access routes should be between 1.4m and 1.7m above the finished floor level. They also say in the Note under section 4.2.4 that “Raised letters and symbols, in contrasting light and dark colours, on identification or location signs assist those who are blind or have impaired vision.” (SANS 10400-S 2011: Facilities for Persons with Disabilities. Pg9) Part 4.3 of the regulations (SANS 10400-S 2011: Facilities for Persons with Disabilities.

Pg10) stipulates requirements for parking. The portions which are relevant to this design include the assertion that at least one parking space per 25 spaces or no less than 20%

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of the parking space provided shall be for those with disabilities, and any space provided for a disabled person should be within 50m of an accessible entrance. The disabled bay should be clearly demarcated as for use only by the disabled. The slope of the bay should not exceed 1:50, and the dimensions should be (as minimum) as described in figure 82.

Part 4.4 of the regulations (SANS 10400-S 2011: Facilities for Persons with Disabilities.

Pg11-13) deals with the requirements for internal and external circulation. It stipulates that there must be at least one accessible route within the boundary of the site from public transport stops, public roads, disabled parking spaces, and pavements to an accessible entrance of the building. The clear width of any accessible route shall not be less than 900mm, and if it less than 1.5m, there need to be passing zones (of 1.5m x 1.5m) every 5m. Revolving doors, turnstiles and revolving gates cannot form part of an accessible route. Also, pause areas, with appropriate seating, need to be provided adjacent to every accessible route at intervals of maximum 25m. The minimum turning circle for a wheelchair is 1.5m radius, which is inclusive of toe and knee space, and doors may not swing into a turning space. In terms of obstructions to the path of travel, no protruding object shall be allowed to reduce the clear width of the accessible route. Hanging signs and any objects which protrude above the accessible route must have a height of at least 2m above the

Figure 82: Accessible parking bays. SANS. 2011

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finished floor level, and no windows or doors shall open across any accessible route. Also, door stops should not prohibit the full swing of any doors, which may then create a hazard. Any wall mounted fittings must be designed to be easily seen, recessed if possible, and be accompanied by a feature which can alert its presence to a visually impaired person who requires a white cane or stick. External drainage of an accessible pathway may not be a dished channel within the boundaries of the route, and if drainage requires a grating, that grating must be flush with the non-slip floor finish, with the longitudinal elements of the grate perpendicular to the edge of pathway for easy wheelchair clearance, and gaps of not more than 13mm between elements.

Where an accessible pathway accesses a disabled parking bay, there must be a kerb cut of a gradient not exceeding 1:12, with a non-slip finish, as demonstrated in figure 83. “Floor and ground surfaces form an integral part of the accessible route throughout the site, both internally and externally, as part of the continuous path of travel. They shall be stable, firm and slip resistant [‌], under wet and dry conditions.â€? (SANS 10400-S 2011: Facilities for Persons with Disabilities. Pg14).

Joints in the floor finish or ground surface must not exceed 13mm in width, and where there is a longitudinal joint, it should run parallel to the dominant direction of travel on the floor. Where there is a change in floor finish or a threshold, the finish must be flush, and may not exceed 5mm in discrepancy. Cobbles, gravel and loose sand may absolutely not form part of any accessible route.

If any accessible route is to be cambered for drainage purposes, that camber may not exceed more than 1:50, as in figure 84.

With regards to doorways and doors, the absolute minimum clear door width for a door with an approach perpendicular to the opening is 750mm, although it is recommended that 800mm is a more acceptable width. Where a passage is narrow, and runs parallel to an opening, the opening needs to be wider in order to accommodate for a wheelchair turning circle, as demonstrat-

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Figure 83: Kerb cuts. SANS. 2011

ed in figure 85. The minimum distance between leafed doors is 2m, and between sliding doors is 1.5m (which may be installed where leafed doors would hinder mobility or turning circles. It is clearly noted that “doors are a hindrance and their use should be avoided.

Where doors cannot be avoided, for example, in a route used for emergency egress, doors should be held open by a mechanism that is safe, comfortable and convenient for persons with disabilities to operate, such as magnetic closers. Frequently used doors, such as main entrance self-closing doors, should preferably open automatically and be equipped with a fail-safe system that enables the door to open under emergency conditions” (SANS 10400-S 2011: Facilities for Persons with Disabilities. Pg16). Any door handle on a leafed door which forms part of an accessible route or access to a toilet facility must of the lever kind (as knobs do not provide sufficient grip for people with impaired dexterity) and may not exceed a height of 1m above the finished floor level. All doors must be openable with one hand, with the door handle horizontally aligned. Doors with sharp protruding hardware or Figure 84: Camber on walkways and ramps. SANS. 2011 edges must not be used as they present a hazard.

Level changes must be carefully managed. The open edge of a ramp must be contained by either a raised curb of not less than 75mm in height, or an edge skirting of not more than 300mm in height. If a level change is greater than 600mm in height, a handrail must be provided. All ramps on an accessible route must not exceed a gradient of 1:12, have a clear width of not less than 1.2m, have a surface which is even, non-slip and secure, and have a landing at both top and bottom which is not less than 1.2m long and not less than the width of the ramp. The ramp must have either a handrail on both sides or a central handrail if it is wider than 2.4m, or if the gradient exceeds 1:15. Where ramps in the same direction cover a vertical change of 750mm or more, a central landing of not less than 1.2m must be provided to avoid a long straight line of ramps. For the maximum length between landings, see figure 86 on page 92. No door leaf or window may open out into a ramp or landing, and the camber on any ramp may not exceed 1:50. Handrails to the ramp must be between 900mm and 1000mm in height, and must be of an equal height along all ramp runs and landings. They must be securely fixed and rigid, and free of abrasive of sharp elements. The hand grip must be centrally supported from below and should not have a gap of more than 50mm between the top of the supporting element and the bottom of the rail grip. For rail grip particulars and handrail elevations, see figure 87 on page 92. (SANS 10400-S 2011: Facilities for Persons with Disabilities. Pg17-20). For ramp runs relevant to this design, see the ‘Technical Studies’ section at the end of the document.

According to SANS 10400-S 2011: Facilities for Persons with Disabilities (pg 22), “[i]n Figure 85: Access dimensions. SANS. 2011

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Figure 86: Ramp requirements between landings. SANS. 2011

any building other than buildings of occupancy class H1, where in terms of SANS 10400-P, a toilet is required, not fewer than one toilet accessible to persons with disabilities shall be provided within every group of toilets provided.

Persons with disabilities shall not be required to travel further than persons without disabilities to get to a toilet that is accessible to them. Persons with disabilities shall not be required to travel a distance of more than 45 m on the same floor, or 25 m where horizontal and vertical distances are combined, in order to reach a toilet accessible to them, regardless of the number of toilets available to persons without disabilities.� In terms of the toilet compartment, the door shall not open into it unless there is a space of 1.2m in diameter which is free of fittings and fixtures, and the door must be openable from the outside in case of emergency. The compartment’s dimensions shall not be less than 1.8m x 1.8m. The centre line of the toilet must be between 450mm and 500mm away from a wall with an accessible grab handle, and the clear space between the front of the toilet and any wall shall not be less than 690mm. The top surface of the toilet seat should be between 480mm and 500mm above the finished floor level. Any fittings and fixtures such as toilet paper dispensers, hand soap dispensers, basins and hand dryers shall be easily accessible to a person in a wheel chair. Washbasins must be mounted without legs and may not exceed a height of 820mm above the finished floor level, and the water supply should be by means of a single unit mixer with a lever arm at least 100mm long. Doors to accessible toilets must have a clear opening of 900mm. Sufficient grab handles must be provided to allow easy manoeuvrability, and must be firmly affixed and able to take the loads to which they will be subjected. Any shower facilities must be designed that a wheelchair can roll into the cubicle with no change in level, and the floor finish to any such cubicle must be firm and non-slip under wet and dry conditions.

Warning signals and lighting must adhere to the following stipulations: All emergency warning signals, including those in mechanical circulation installations, shall be both audible and visible. These emergency warning signals include smoke detection, fire alarms and evacuation signals. The minimum illumination levels of lighting shall comply with the requirements of SANS 10400-O and SANS 10389-1. It is noted that many persons with disabilities, especially elderly persons and persons with visual impairments, require higher levels of artificial lighting and reduced glare. Persons with hearing

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Figure 87: Dimensions of typical handrails. SANS. 2011

impairments might also require a higher level of illumination to facilitate lip-reading. Lighting controlled by passive infrared sensors shall be provided in external circulation areas, internal circulation areas, and bathrooms, where these facilities are used after dark. Where passive infrared sensors cannot be provided, night lights shall be provided. It is noted that contrasting light and dark colours and levels of luminance should be used to assist persons with visual and Intellectual (mental) impairments. (SANS 10400-S 2011: Facilities for Persons with Disabilities. Pg24).

These regulations do deal mainly with the physically disabled. To gain a further understanding of the requirements of people with hearing and visual impairments, a case study shall be used, and is laid out on the following pages.

Figure 87a: Untitled. Alan Dunlop Architects. 2007

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A case study for visual and hearing (or multiple sensory) impairment is one Hazelwood School, by Gordon Murry and Alan Dunlop Architects, in Glasgow, Scotland, which was completed in 2007. The school is a triumph of universal and accessible design. The universal design features which were employed are numerous, and must be defined individually. According to an expansive article on The Institute for Human Centred Design’s website (Author Unknown, no date), the main feature is a unique sensory trail wall which weaves throughout the school and enables children to practice mobility and orientation skills, which leads to increased confidence, sense of mastery, and self-esteem. The trail rail wall is clad in cork, which has a warm feel and provides signifiers or tactile cues to assist children with orientation and navigation through the school. Each bay of sensory trail wall is individually shaped. This helps children orient along the length of the circulation space in the school.

Corridors are designed as streets, which also assist with orientation and mobility. Redundant signage throughout the school, in Braille and pictograph and Moon, caters for the diverse communication abilities of all of the children. There exist large classrooms with ample storage space for equipment and adaptable areas between the classrooms. The focus-learning rooms offer viewing for staff and visitors without disturbing the children.

These areas also offer quiet time as needed. The lack of clutter in the classrooms and on the walls generates a calming atmosphere without unnecessary visual confusion. The subtle colour, contrast, and adaptable lighting elements maximize use of children’s residual vision. Throughout the building, there is use of contrasting and neutral colour as visual indicators of transitional and storage spaces.

Classrooms are oriented north facing more even level of light and open onto grounds, the classroom garden spaces. rear of each classroom were designed

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Figure 88: Untitled. Alan Dunlop Archiects. 2007

to take advantage of a the quietist part of the Storage ‘boxes’ to the to provide a solid wall

and eliminate visual distraction for the children from outside. To reduce the effects of traffic noises proximal to Hazelwood, a majority of classroom spaces are located along the northern, quiet edge of the site and more transient spaces to the south. The ‘street’ links these areas and guides the building around the existing adjacent trees. The curved form means that both internally and externally the building is broken down into manageable spaces. The scale of these is then more appropriate for navigating and also minimizes any visual confusion by reducing the extent of the spaces.

The building was developed as a series of space groupings for simple orientation. As the site is adjacent to a major traffic junction and in order to achieve the acoustic requirements of the teaching spaces, there are no operable windows within the classrooms. The building design was based on natural ventilation throughout. The depth of the storage boxes accommodates an attenuated acoustic fresh air plenum in lieu of opening windows. Acoustic ceilings are detailed into all teaching spaces to reduce higher volume reverberation, which may interfere with hearing aid devices.

The overall roof form results in quiet, sheltered external teaching spaces shared between radial classrooms to the north.

Figure 89: Untitled. Alan Dunlop Archiects. 2007 Naturally weathering larch boarding is used externally for the trail wall and stimulates the sense of smell as well as providing and appealing tactile surface. The transition between the ‘street’ and classrooms areas was designed to inform children of their location as well as school events. For instance, the roof over the ‘street’ pitches to the north and clerestory glazing is incorporated. This is mirrored with glazing to the south, which floods the area with natural light. Through GM + AD’s research it became apparent that a good proportion of children who are blind can identify between natural and artificially lit environments. The transoms and sills are used for trailing and the sill doubles as a kerb which children may use to guide canes or the side of their feet along the street. All navigational devices, be it trail rails, window transoms or signage on doors, are set at a consistent height throughout the building so that they can be quickly located by the users.

Differing tactile floor finishes serve as an alternative or enhancement to the trail walls for navigation and cuing in some locations inside the school.

Figure 90: Untitled. Alan Dunlop Archiects. 2007

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The design of the playground and playground equipment allows each child the freedom to play as much as possible at his or her own level. Design of the games hall, trampoline area and hydrotherapy pool allow children the opportunity to explore, extend their skills, and gain confidence through engagement in relatively independent activity.

A high slate exterior wall protects the site from the loud traffic noises. The external structure and the cladding were all considered in terms of sensory stimulation. The structural glulam* timber frame casts shadows within the building to establish a clear pattern along the internal street of the school. *[By combining engineered strength with the warmth and beauty of wood, structural glued laminated timber (glulam) offers designers a multitude of options for large, open spaces with a minimum number of columns.]

Roofing slates define particular areas outside, form a good trailing surface, and the tactile contrast to the timber clearly orients children as to location when outside. The slate also has the advantage on the south elevations of being a heat source for children to use as a navigation device.

A network of paths around the school and the gardens vary in finish from bound gravel which crunches under foot to recycled bound rubber and timber decking. Each area is defined by separate finishes, which feel and sound different under foot, in order to create easily identifiable zones.

John Legg, Executive Director of RNIB Scotland (Royal National Institute of Blind People, date unknown) wrote of Hazelwood, “It is without doubt an exemplary building which goes well beyond its functional brief in providing a highly attractive, effective and stimulating environment for blind and partially sighted children.” Caroline Ednie, of scottisharchitecture.com said, “The building is very much a product of an extended and detailed briefing process…designed to deal with very specific issues whilst ensuring an architectural quality.

It’s a building that is designed not only to assist in the stimulation of the senses, but as an environment that stimulates the imagination. The building responds to what is ultimately a very challenging brief and this has been achieved by a fully comprehensive and continued dialogue with the client and end users.” (Ednie, 2007, pg2).

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Figure 90: Development Sketches. Alan Dunlop Archiects. 2007

Figure 91: Classroom. Alan Dunlop Archiects. 2007

Figure 93: Colour and Light. Alan Dunlop Archiects. 2007

Figure 92: Untitled. Alan Dunlop Archiects. 2007

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The vital takeaways from this case study, as is relevant to my design, are as follows: The inclusion of a sensory trail wall with integrated braille signage to allow for easy and independent navigation. The use of bright, solid colours (of high contrast) to demarcate zones of importance, as well as to reduce the likelihood of the ‘wash-out’ effect which makes it difficult to see specific facial expression and cues. The inclusion of variable floor finishes creating a tactile awareness of route, path and level change. The importance of even lighting conditions, in order to maximise visibility for the visually impaired. The inclusion of appropriate sound insulation to avoid unnecessary reverberation throughout the building, which may interfere with hearing aid devices.

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Figure 94: Corridor Streets. Alan Dunlop Archiects. 2007

DESIGN DEVELOPMENT

Figure 95: Overlay 9. Holman, M. 2016

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Figure 96: Charrette One. Holman, M. 2016

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I began the form exploration with a charrette exercise. The first exploration was one in which I took stills from a fifteen-second-long video supplied by South African contemporary dancer and choreographer Alice Kok. I layered the stills over each other in an attempt to ascertain which forms were the most prevalent throughout the fifteen seconds. The result was the ghostly images shown on pages 84 and 85. I felt inspired by this layered effect and wondered if I might be able to incorporate this layering in any way – perhaps through the use of screens to separate internal zones, or even the layering of spaces above and below each other in section.

The second exploration was initiated using the human body, dance, and different genres of music to create movement patterns. The broad intention was that these patterns potentially be used to inform or even generate spatial solutions. I did however decide to limit my range of motion, as a disabled person is likely to have a limited range of motion. I knelt in the centre of large sheets of paper and hinged from the waist, keeping my lower body stationary. I listened to different genres of music, and each different genre resulted in a different tone and feeling for the pattern I created. I chose to use different music to replicate the idea that different parts of the cityscape have a different ‘music’ – sounds, energy and rhythms which can give each area a unique feeling. The intention behind this exploration was to attempt to establish which portions of the spatial programme may require which type of energy (e.g. energetic, soothing, vibrant, calm, inspiring and so on). Once this ‘energy map’ was established, I would then be able to use the body-sized drawings for that particular music genre to serve as form-finding or circulation-definition inspiration.

The third exploration was one of massing. I undertook to create a programmatic massing using the building programme established in the project brief. I built a physical model and iterated several programmatic arrangements as the starting-points for my planning exploration. The findings of this exploration are detailed on pages 88 to 91.

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Figure 97: Charrette Two. Holman, M. 2016

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Figure 98: Programme One. Holman, M. 2016

Figure 99: Programme Two. Holman, M. 2016

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Figure 100: Programming Rationale. Holman, M. 2016

Figure 101: Possible Site Plan. Holman, M. 2016

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After the initial programming exploration, I conducted several planning iterations, as displayed on page 93. Early on, I made the decision to base my building on a courtyard model. Courtyards (by their nature) provide privacy, shelter, and safety from the surrounding cityscape. As previously established on page 15 and 16, this is a necessary integral quality for spaces associated with therapy. I also conceived that this courtyard space would be an additional performance space. It will become the platform upon which the everyday life of the building is acted out, as well as a flexible, transformative space for formal and informal performances and interactions.

In the first iteration, the planning felt too tight, and the prominent north-west corner of the block was disregarded by the design. In the second attempt, the planning was marginally improved as the south wall was pushed back to allow for more building mass. Additionally, the prominent northwest corner was addressed by the main entrance. However, the disabled access ramp in the entrance foyer came across like an after-thought – a failure in a building intended as one for the disabled. Furthermore, the connection to the existing theatre building was tenuous at best. The third iteration was a further improvement, with the disabled access now fully integrated into the building. The access ramp now wrapped around, and overlooked, the central courtyard. This reinforced the concept of the courtyard as a stage which is overlooked by a proscenium. The planning felt more generous as the south wall was pushed even further back. The connection into the existing theatre was now well-established. However, there were still some foibles with regards to the levels in section. There was also a missed opportunity to strengthen the much-needed diagonal connection between the main northwest entrance corner and the parking (conceived as a possible temporary market space) to the southeast of the new complex.

This resulted in the fourth iteration, which I took out of plan and into section and elevation. It was a natural progression, at this point, to ascertain whether or not the planning translated into three-dimensional space. This iteration is detailed in drawings on pages 112 to 112.

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Figure 102: Planning Progression. Holman, M. 2016

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Figure 103: Fourth Design Iteration. Holman, M. 2016

The public functions of the building are isolated to the level directly off the street. These include the foyer, restaurant, gallery, courtyard, retail spaces, and public ablution facilities (including the public ablution facilities which service the back parking area for use by the market space). The public, ground-floor access of the building is glazed to allow visual transparency from the street, with each public space having an independent entrance from the street and an entrance onto the courtyard. The building reception, administration offices and a store room are directly off the main foyer. The storeroom is for the stackable seating that transforms the courtyard into the secondary formal performance area. The important diagonal connection between the main entrance and the back parking area is established by creating a secondary entrance at the southeast corner. The sight-line of a person entering at the main entrance is drawn to the secondary entrance by means of retail stores which line the surrounding walls and create a funnel effect. The access to the upper levels, which contain the semi-private and private functions of the building, is restricted slightly by the narrowness of the ramp entrance – an intentional restriction for security and privacy reasons.

As the ramp rises, so the privacy of the building functions increases. The first programme off the ramp is a changing room and its related small, linked dance studios. One of these dance studios is partially visible from the courtyard, and is displayed to the street by glazing, whilst the other studio is both hidden from the courtyard and screened from the street. This allows for varying levels of privacy within the studios, as per the needs of the class using the studio. The studios are separated by a folding partition to allow the space to be converted into one large studio should the need arise. The second studio has a large area of unadorned wall to accommodate a mirror that could be screened. Mirrors are essential tools in the teaching of dance as they allow for students to see as well as feel their movements. As this visual aid is not necessarily needed in therapeutic teaching, the ability to screen the mirrors (with simple curtains) is ideal.

Above the small studios is the therapy suite. This is located at a mid-level as it is intended to be semi-public and is intended for use by both dancers and therapy patients alike.

The rooms have high-level windows onto the ramp, along with internal windows onto the circulation space, for privacy and light. The circulation space looks out over the planted roof of the levels below, displaying a garden space within the cityscape. Directly above the therapy suite on the ramp’s path is the hydrotherapy pool, including dedicated ablution facilities for the pool. The pool receives light from a wall of opaque privacy glazing that faces the courtyard.

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Finally, the ramp’s journey culminates with the private staff area and the two semi-private, large, multi-purpose studios. The two studios are separated by the double volume foyer space, but connect to each other by means of the ramp. This ramp serves as a ‘proscenium’ for the spaces below, as well as the support for a lighting rig, and control booth for formal performances within the courtyard. The large studios both have storerooms to allow for the storage of therapeutic tools such as mats and Pilates balls. These storerooms could also accommodate desks and chairs for community classes or meetings, as well as stackable seating for transforming the studios into private performance areas.

Both studios have small breakaway zones in the form of balconies. These balconies are also multi-purpose – a theme running through the whole dance complex. Instead of being edged by a traditional handrail, they are enclosed by a full height brick screen. The screen allows for partial privacy from the street due to its semi-transparent nature and acts as an additional climate control method. Air within the building is heated by moving bodies, electronic devices, and sunshine, and this hot air rises. As the air rises, cooler air is drawn into the building via the openable, glazed building edges through the stack effect. The balcony areas provide a buffer zone between the building interior and the exterior, and allow for an additional cooling of the incoming air through the shadows created by the screen. To aid the stack effect, the courtyard is topped by a louvered glass roof. As sunlight strikes the roof, the air beneath it is heated and rises up out of the louvres. This rising creates a drawing or sucking effect which aids in the drawing of cool air into the building from outside.

The glass roof protects the courtyard and ramp from the elements when the louvres are closed, allowing for the building to be completely functional even during adverse weather conditions. The brick screens also have a tertiary, conceptual function. As the angle of the sun changes throughout the day, so the sunshine patterns created by the screens move and dance along the studio floors.

All flat roof-scapes have planted gardens to create green roofs. This planting has three distinct purposes – firstly it creates greening in the city and offsets some of the carbon-dioxide output created by the industry in the area. Secondly, it acts as a storm water management system, slowing the runoff rate during heavy downpours in order to avoid overloading the drainage system. Thirdly, and finally, the extra mass of soil above the roof slab creates thermal mass. This thermally massive element heats and cools much more slowly than the surrounding air, thus cooling the air around it on warm days and heating the air around it on cool days. By this mechanism, the roofs of the building contribute directly to its thermal and ventilation management.

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After criticism, a fifth iteration was developed. In this iteration, the planning remains mostly unchanged, but the awkward ground floor south entrance is changed around to mirror the north entrance, making it a more generous space. Also, the single pitch roof is pointed out to be too heavy in its fourth-iteration form, so it is re-imagined as a 4-part pitched roof, still in louvered glass. Also, the brick screens are refined into a less chaotic pattern which plays with the level of transparency across the brick face, creating a wavelike pattern when viewed from the street, and which constantly changes when walking by, creating the illusion of movement in a static faรงade. This iteration is detailed on pages x-y.

Figure 104: Fifth Iteration Explanatory Diagrams. Holman, M. 2016

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Figure 105: Fifth Iteration Roof Plan. Holman, M. 2016

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Figure 106: Fifth Iteration Ground Floor Plan. Holman, M. 2016

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Figure 107: Fifth Iteration First Floor Plan. Holman, M. 2016

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Figure 108: Fifth Iteration Sections. Holman, M. 2016

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North Elevation 1:100

North-West Elevation 1:100

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West Elevation 1:100

South Elevation 1:100

Figure 109: Fifth Iteration Elevations. Holman, M. 2016

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In the final iteration of the design, shown in the following chapter, the courtyard form was further rationalized by using the example of Shakespear’s Globe Theatre (figure x), which is conceived of as a ‘theatre in the round’, or a theatre with a view of the stage from all sides. It was reiterated that the surrounding ramps therefor act as a proscenium from which the stage of the courtyard (informal or formal) can be viewed. A critic noticed that the long ramp run which abuts the therapy suite was not in adherence with the National Building regulations, so that run was changed to include a central landing to bring it in line with the regulations as described in the chapter ‘Designing for Disability’. All ramp run calculations are available in the ‘Technical Documentation’ chapter. When reviewing the regulations, it was also noted that formal pause areas are necessary off of accessible routes, especially after long ramp runs. These were easy to accommodate within the existing framework and did not result in an overt rearrangement of programme. Also, it was noted that where possible, all doors should be automated to allow for no-touch access, which is beneficial for all levels of disability, as doors are a hindrance.

A critic suggested that the design could benefit from integration with design aspects relating not just with physical disability, but also to visual and hearing impairment, and suggested that I undertake further research into this area of design with an additional case study. It was through this instruction that I came upon the example of the Hazelwood School for Multisensory Disability in Glasgow, Scotland. The full case study can be seen in the ‘Designing for Disability’ chapter which precedes this chapter.

The main take-aways from that case study which I applied to the final design iteration are as follows: I added in a sensory trail route which is distinguished from the general ambulation circulation by a bright orange, non-slip, rubberized floor finish, and a cork sensory wall inscribed with guiding rails at appropriate heights, as well as braille signage to aid with navigation. The rubberized floor finish helps to aid the visually impaired by providing a different tactile experience from the general circulation. Also, the bright orange colour creates a zone of high contrast with the grey screed, thus making the route easier to define from its surroundings. The natural cork trail wall allows for a soft tactile and smeel experience, which also guides the visually impaired. Different colours of cork are applied to different zones, depending on their function. Dark blue indicates ablutions, pale blue indicates the hydrotherapy zone, yellow indicates the therapy suite, red indicates the dance studios, and purple indicates the staff area. Where glazing walls are necessary for lighting purposes, the full cork wall is set aside in favour of cork guiding rails secured to the glazing, still in the relevant colours.

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Figure 110: The Globe Playhouse. Walter Hodges, C. 1950

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To accommodate the hearing impaired, the need for sound insulation in all floors and ceilings was established (to reduce unnecessary reverberation), as well as the need for appropriately sized signage to denote routes and areas of interest. It was noted that the courtyard typology, transparent glazed walls and the generosity of the studio spaces are all (existing) ideal design considerations for the hearing impaired because not only do they require adequate space in which to gather to perform sign language without being cramped, but they also require clear and open sight lines in order to receive visual cues of attention from others. These elements provide them with these allowances.

The glass roof was heavily criticized for being a weak element, both in the possibility of form as well as from a sustainability point of view (it was established that the greenhouse effect would be too great to be managed, even with the presence of open louvres). This lead to a complete re-imagining of the courtyard roof scape. Inspiration for the form was garnered from the quintessential Romantic Ballet skirt as seen in Marius Petipa’s Giselle.

The light bell shape of the skirt was mirrored and layered to create the waving parabolic-domed form of the roof displayed in the final iteration. The form of interlocking parabolic domes is incredibly strong, and therefore has the capacity to span the open area of the courtyard without the need of additional beams or intense thickness of material – it is, in essence, self-supporting. The concrete construction provides a thermal mass heat sink which manages the thermal gains from solar radiation and building use.

The most complex portion of this roof was developing a drainage strategy, and after consulting with a civil engineer, it was determined that the best system to utilize would be a pluvial system built into the cast-in-situ concrete. A pluvial system works on negative pressure, thereby actively suctioning away water, allowing storm water to be drained out of the troughs in the roof form, against gravity. Also, as this roof covers a large volume, and sound insulation is of particular concern in this building (as unnecessary reverberations can interfere with the hearing aids used by many hearing impaired individuals). It was determined that a rigid, ‘spray-able’ sound insulation applied to the underside of the curving roof soffit to maintain the visual appeal of the form would be the best solution in this instance.

This roof detail can be seen in the ‘Technical Documentation’ chapter which follows after the final design iteration drawings.

A further criticism was that I had not given enough thought to the joining of new to old, and that I needed to create a strategy which managed this transition. I examined my decision to not stray too far from the existing material palette of the theatre, and decided that

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Figure 111: Roof Inspirations. Holman, M. 2017

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while I wanted to respect the existing structure, I also needed to actively delineate and enhance the melding between old and new, The delineation arose in the form of a raised plaster strip between old and new brickwork, which creates a zipper-like effect between the courses of old and new brick. The plaster is inscribed with interwoven movement patterns, a nod to the function of the new building as well as the melding of old and new. The raised edges of the plaster, and the dipped lines of the inscribed patterns provide a tactile reference for the visually impaired to also be able to differentiate between old and new. The enhancing came through the choice to make this plaster section bright yellow. Yellow was chosen as the colour of choice as it is a bright, high contrast colour which is easy to distinguish from its surrounds, making for easier distinction for the visually impaired. Also, it is the most identifiable colour for those with most types of colour blindness (the most common being green-red blindness).

This screed detail is also carried over into the floor finishes, but it is kept flush with the finishes instead of raised in order to maintain easy passage by wheelchair. The edge of the screed insert on the existing floor is kept straight, whereas on the new floor it is curved to mirror the parabolic form of the roof, as well as to give a nod to the movement-related nature of the building. It continues in the chosen high-contrast yellow colour. The detail drawings of this strategy can be found in the ‘Technical Documentation’ chapter which follows the final design drawings.

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choreographed space

Figure 112: Overlay 10. Holman, M. 2016

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Figure 113: North East Perspective. Holman, M. 2017

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Figure 114: Main Entrance Perspective. Holman, M. 2017

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Figure 115: North Elevation. Holman, M. 2017

Figure 116: North East Aerial Perspective. Holman, M. 2017

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Figure 117: South West Corner Perspective. Holman, M. 2017

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Figure 118: Site Plan. Holman, M. 2017

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Figure 119: Ground Floor Plan 1:500 Holman, M. 2017

Figure 120: First Floor Plan 1:500. Holman, M. 2017

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Figure 121: Elevations 1:500. Holman, M. 2017

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Figure 122: Sections 1:500 Holman, M. 2017

Figure 123: North East Aerial Night Perspective. Holman, M. 2017

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Technical development

Figure 124: Overlay 11. Holman, M. 2016

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Figure 125: Public vs Private Diagram. Holman, M. 2016

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Figure 126: Major Circulation Diagrams. Holman, M. 2016

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Figure 127: Edge Visibility Condition Diagrams. Holman, M. 2016

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Figure 128: Structural Diagram. Holman, M. 2016

The previous spread shows initial organisatioal diagrams for design iteration 3. The basic principles stand for the final design iteration, which is why these diagrams have remained here unchanged. Following on is the specific detailed design related to the final design iteration.

Figure 129: Perimeter Section. Holman, M. 2017

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Figure 130: Screen Detail. Holman, M. 2017

Figure 131: Building Intersection Detail. Holman, M. 2017

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Figure 132: Ramp Runs. Holman, M. 2017

bibliography

Figure 133: Overlay 12. Holman, M. 2016

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Bibliography by Chapter COVER See Figure List DECLARATION See Figure List ABSTRACT Chodorow, J. 2000. “Dance Therapy: Moving Toward Wholeness”. Keynote address for the Dance Therapy Association of Australia Conference, February 17-20 2000 at the University of Melbourne, Hawthorn Campus. Available at http://dtaa.org.au/wp-content/ uploads/2014/07/JoanChodorow_keynote2000.pdf. [accessed 15.10.2016].

Unknown. “What Is Dance Movement Therapy? - DTAA ~”. N.p., 2016. Available at http:// dtaa.org.au/therapy/. [accessed 18.03.2016].

INTRODUCTION See Figure List CHAPTER 1 : DANCE AND HEALING: Chodorow, J. 2000. “Dance Therapy: Moving Toward Wholeness”. Keynote address for the Dance Therapy Association of Australia Conference, February 17-20 2000 at the University of Melbourne, Hawthorn Campus. Available at http://dtaa.org.au/wp-content/ uploads/2014/07/JoanChodorow_keynote2000.pdf. [accessed 15.10.2016].

Hugill, T. Date unknown. A Circle to Connect: The use of dance movement therapy for the healing of trauma. Online Article. Available at http://www.awakeningbodywisdom.com/article-circle.htm. [Accessed: 09.08.2016] Ianzito, C. 2011. The Healing Powers of Dance. Online Article. Available at http://www. aarp.org/health/fitness/info-03-2011/dance-for-health.html. [Accessed: 08.08.2016] Pericleous, I.A. 2011. Healing Through Movement: Dance/Movement Therapy for Major Depression. Columbia University Academic Commons. Available at http://hdl.handle. net/10022/AC:P:12644. [Accessed: 08.09.2016]

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Wbdg.org. (2016). “Therapeutic Environments | WBDG Whole Building Design Guide”. [online] Available at: https://www.wbdg.org/resources/therapeutic-environments [Accessed 17 Mar. 2017].

Wikipedia. 2016. Vyvyan Lorrayne. Available at https://en.wikipedia.org/wiki/Vyvyan_Lorrayne. [accessed 08.09.2016] CHAPTER 2: the choreography of architecture: an essay Afrinet. 2012. Soweto Theatre 2012. Available at <http://www.afritects.co/projects/2012-soweto-theatre> [accessed 03.05.2016] Archdaily. 16 March 2016. Cádiz Castle: Interesting Interpretation or Harmful to Heritage?. Available at http://www.archdaily.com/783861/cadiz-castle-restoration-interesting-interpretation-or-harmful-to-heritage [accessed 23.10.2016] Archdaily. 16 June 2012. The Soweto Theatre / Afritects. Available at http://www.archdaily. com/243942/the-soweto-theatre-afritects/ [accessed 04.05.2016] “Architecture & Dance: Intersections & Collaboration”. Nbm.org. N.p., 2016. Web. [6 May 2016].

Beaumont, Cyril W, and Stanislas Idzikowski. 2004. A Manuel of the Theory and Practice of Classical Theatrical Dancing (Cecchetti Method). 2nd edition. Imperial House, London: ISTD. Coplan, D.B. 2007. In Township Tonight! South Africa’s Black city music and theatre: 2nd ed. Johannesburg: Jacana Media.

Ersoy, Zehra. 2011. ‘Building Dancing: Dance within the Context of Architectural Design Pedagogy. International Journal of Art & Design Education. Volume 30, Issue 1, pages 123-132.

“Famous Ballet Choreographers”. BalletRocks. N.p., 2011. Web. [Accessed 9 May 2016.]

Gavrilou, Evelyn. Inscribing Structures of Dance Into Architecture. 1st ed. London: 4th International Space Syntax Symposium, 2003. Web. Available at http://www.spacesyntax. net/symposia-archive/SSS4/fullpapers/32Gavriloupaper.pdf. [Accessed 01.05.2016]

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“George Balanchine Biography”. Biography.com. N.p., 2016. Web. [Accessed 6 May 2016.]

Harris, Alec. 2014 “Choreographing Space: The Enhancement of Architecture Through Dance”. Architectural Studies Integrative Projects, Paper 62. Available at http://digitalcommons.conncoll.edu/archistudintproj/62. [Accessed 06.05.2016] Koolhaas, R and Whiting, S. 1999. ‘Spot Check: A Conversation between Rem Koolhaas and Sarah Whiting’. Assemblage, No. 40 (Dec., 1999), pp. 36-55. MIT Press.

“List Of Ballets By George Balanchine”. Wikipedia. N.p., 2016. Web. [Accessed 9 May 2016].

“Marius Petipa”. The-ballet.com. N.p., 2016. Web. [Accessed 5 May 2016.]

“Marius Petipa”. Wikipedia. N.p., 2016. Web. [Accessed 5 May 2016.]

Martin, Elizabeth. 1994. Architecture As A Translation Of Music. New York: Princeton Architectural Press.

“Merce Cunningham Biography”. Biography.com. N.p., 2016. Web. [Accessed 6 May 2016.]

“Phenomenology - By Branch / Doctrine - The Basics Of Philosophy”. Philosophybasics. com. N.p., 2008. Web. [Accessed 3 May 2016.]

Saldanha, D. 2011. Choreography of space: fusing architecture and dance. M.Arch (Prof) Thesis, University of the Witwatersrand, Faculty of Engineering and the Built Environment, School of Architecture and Planning.

“Sergei Diaghilev Biography”. Biography.com. N.p., 2016. Web. [Accessed 3 May 2016.]

Sharland, Megan. 2015. Rhythms and Plays: Architecture through a dancer’s eyes. Academic paper for ARPL4002 of the Bachelor of Architectural Studies (Hons) degree, University of the Witwatersrand. Unpublished.

Shaver, Ciera. “Choreographed Architecture - Master’s Thesis”. Issuu. N.p., 2015. Web. [1 May 2016].

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Singhal, S. 2012. The Soweto Theatre in Gauteng, South Africa by Afritects. Available from: <http://www10.aeccafe.com/blogs/arch-showcase/2012/07/01/the-soweto-theatrein-gauteng-south-africa-by-afritects/> [accessed 03.05.2016] Soweto Theatre â&#x20AC;&#x201C; Welcome to Soweto Theatre. 2016. Web. Available at www.sowetotheatre.com. [accessed 23.10.2016] Summerson, John. 1980. The Classical Language Of Architecture. London: Thames and Hudson.

Van Jaarsveldt, D. 2009. The social soul of architecture: a place for dance born from the urban ethos of western Johannesburg. M.Arch (Prof) Thesis, University of the Witwatersrand.

CHAPTER 3: A history of springs Springs Town Council. 1979. Springs 80 years on. 1st ed. Springs. Available in the Springs Library.

CHAPTER 4: inspirations Archdaily. 2011. Dee and Charles Wyly Theatre / REX + OMA. Available at http://www. archdaily.com/37736/dee-and-charles-wyly-theatre-rex-oma. [accessed 21.07.2016] ArcSpace. 2005. Laban Dance Centre. Available at http://www.arcspace.com/features/ herzog--de-meuron/laban-dance-centre/. [accessed 26.05.2016] OMA. Dee and Charles Wyly Theatre. 2015. Available at http://oma.eu/projects/dee-andcharles-wyly-theater. [accessed 19.10.2016] Rex. 2009. AT&T Performing Art Centre Dee and Charles Wyly Theatre. Available at http://www.rex-ny.com/wyly-theatre/. [accessed 21.07.2016] Wikiarquitectura. 2010. Laban Centre for Movement and Dance. Web. Available at: https://en.wikiarquitectura.com/index.php/Laban_Centre_for_Movement_and_Dance. [accessed 29.09.2016]

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CHAPTER 5: The art and culture precinct: an urban Investigation Coustas, W. 2015. 10 reasons downtown Johannesburg’s Maboneng Precinct is the place to live, eat and visit. Available at http://blog.sa-venues.com/provinces/maboneng-precinct/ [accessed 19.10.2016] Daffonchio. Date unknown. Maboneng Precinct. Available at http://www.daffonchio.co.za/ maboneng-precinct/# [accessed 19.10.2016] Johannesburg’s Urban Renaissance. 2013. The Maboneng Precinct – Shifting Urbanism. Blog Post. Available at http://johannesburgsurbanrenaissance.tumblr.com/ post/42181788551/the-maboneng-precinct-shifting-urbanism#notes [accessed 19.10.2016] Maboneng Precinct. 2016. About. Available at: http://www.mabonengprecinct.com/about/. [accessed 19.10.2016] Maboneng Precinct. 2016. Explore Maboneng. Available at http://www.mabonengprecinct. com/directory-page/ [accessed 19.10.2016] Market on Main. 2011. Untitled. Available at http://marketonmain.co.za/ [accessed 19.10.2016] Propertuity. 2016. Joburg Risings. Available at: http://propertuity.co.za/johannesburg/ [accessed 19.10.2016] South Africa. 2016. Maboneng Precinct, Johannesburg: A feast for the eyes, stomach, heart and soul. Available at http://www.southafrica.net/za/en/articles/entry/article-maboneng-precinct [accessed 19.10.2016] The Neighbourgoods Market. Date unknown. About us. Available at http://www.neighbourgoodsmarket.co.za/johannesburg/about-us [accessed 19.10.2016] CHAPTER 6: site selection: mapping and urban context See Figure List

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CHAPTER 7: viability study AECOM. The Blue Book: Property And Construction Handbook International Edition 2014. 1st ed. AECOM, 2014. Web: http://www.aecom.com/content/wp-content/uploads/ sites/2/2015/10/Blue-Book-2014.pdf [23 May 2016].

“Business And Arts South Africa”. N.p., 2016. Web: http://www.basa.co.za/. [23 May 2016.]

Commission for Architecture and the Built Environment, “[ARCHIVED CONTENT] UK Government Web Archive – The National Archives”. N.p., 2016. Web: http://webarchive. nationalarchives.gov.uk/20110118095356/http:/www.cabe.org.uk/buildings/doing-a-feasibility-study/process. [23 May 2016.]

“Contact Us - Head Office, Steel Supply, General Steel, Stainless Steel, Aluminium, Stainless Steel Tubing, Aluminium Profiles, Structural Steel, Tool Steel, Palisade Fencing, Mild Steel | Macsteel: Africa’s LEADING Steel Supplier”. N.p., 2016. Web: http://www.macsteel.co.za/contact-us-head-office. [23 May 2016.]

Dayton Daily News,. “The Many Health Benefits Of Dancing”. N.p., 2012. Web: http:// www.denverpost.com/2012/11/26/the-many-health-benefits-of-dancing/. [23 May 2016.]

“Department Of Arts And Culture”. N.p., 2016. Web: http://www.dac.gov.za/business-arts-southafrica. 23 May 2016.

“Ekurhuleni Metropolitan Municipality - Customer Care Centre (CCC)”. N.p., 2016. Web: http://www.ekurhuleni.gov.za/council-offices. [23 May 2016.]

National Arts Council of South Africa,. Strategic Plan 2012-2016. 1st ed. National Arts Council of South Africa, 2016. Web: http://nac.org.za/about-us/strategic-plan/StratPlan-NEW.pdf/view. [23 May 2016.]

National Arts Council of South Africa,. Strategy 2014-2018. 6th ed. National Arts Council of South Africa, 2016. Web: http://nac.org.za/about-us/strategic-plan/Strategy%20Document%20Version%207.pdf/view. [23 May 2016.]

“National Arts Council Of South Africa (NAC) — National Arts Council Of South Africa”.

N.p., 2016. Web: http://nac.org.za/. [23 May 2016.]

“National Lotteries Commission | National Lotteries Commission”. N.p., 2016. Web: http:// www.nlcsa.org.za/. [23 May 2016.]

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“PGF Building Glass”. N.p., 2016. Web: http://www.pfg.co.za/. [23 May 2016.]

Powers, Richard. “Dancing Makes You Smarter”. N.p., 2016. Web: http://socialdance. stanford.edu/syllabi/smarter.htm. [23 May 2016.]

“SANDT | Home Of The South African National Dance Trust”. N.p., 2016. Web: http:// sandt.co.za/. [23 May 2016.]

Unknown,. “What Is Dance Movement Therapy? - DTAA ~”. N.p., 2016. Web: http://dtaa. org.au/therapy/. [23 May 2016.]

“Welcome To The Arts & Culture Trust”. N.p., 2016. Web: http://www.act.org.za/. [23 May 2016.]

CHAPTER 8: designing for Disability Petras, T. (2011). “Independence Spaces - Hazelwood School Glasgow”. [online] Greekarchitects.gr. Available at: http://www.greekarchitects.gr/en/educational/independence-spaces-hazelwood-school-glasgow-id4150 [Accessed 18 Mar. 2017].

SOUTH AFRICAN NATIONAL STANDARD, (2011). “SANS 10400-S (2011) (English): The application of the National Building Regulations Part S: Facilities for persons with disabilities”. 3rd ed. [PDF] Pretoria: SABS Standards Division. Available at: https://law.resource. org/pub/za/ibr/za.sans.10400.s.2011.pdf [Accessed 20 Mar. 2017].

Unknown, (2009). “Hazelwood School | NEA Case Studies”. [online] Dev.ihcdstore.org.

Available at: http://www.dev.ihcdstore.org/?q=node/128 [Accessed 18 Mar. 2017].

Unknown, (2011). “Hazelwood School”. [online] Architizer. Available at: http://architizer. com/projects/hazelwood-school/ [Accessed 18 Mar. 2017].

CHAPTER 9: design development See Figure List CHAPTER 10: choreographed space: final design iteration See Figure List

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CHAPTER 11: technology study See Figure List CHAPTER 12: bibliography See Figure List

FIGURE LIST: Cover Image: Holman, M. 2016. Thesis Document Cover. Photocollage.

Figure 1: Dance Detour Cover Photo. 11.03.2013. Photograph. Available at http://usodep. blogs.govdelivery.com/files/2013/02/Dance-Detour-Cover-Photo-1024x1024.jpg. [Accessed on 07.09.2013].

Figure 2: Candoco. 1999. Day 21/group 12. Photograph. Available at http://www.candoco.co.uk/christmas/Days/Day21/group012.jpg. [Accessed on 05.09.2017].

Figure 3: Holman, M. 2016. Overlay 1. Photocollage.

Figure 4: Remix Dance Company. 2010. Remix-Lovaffair-Baxter-30032010-EditA-MW010. Available from http://www.remixdancecompany.co.za/?page_id=26. [Accessed: 04.09.2016] Figure 5: Holman, M. 2009. Joecy and I / La Bayadere 2009. Photograph. Part of the author’s personal collection.

Figure 6: Upworthy Screengrab. Upworthy. 2015. A dream workshop with the New York City Ballet | Humanity FTW. [Online Video]. 02 July. Available from: https://www.youtube. com/watch?v=wp6LeOIkUuQ. [Accessed: 02.03.2016].

Figure 7: Holman, M. 2016. Overlay 2. Photocollage.

Figure 8: Author and date unknown. Vyvyan Lorrayne. Photograph. Part of the subject’s personal collection. Available at https://fbcdn-photos-b-a.akamaihd.net/hphotosak-xta1/v/t1.0-0/s526x395/10407320_10156178798690641_3959822428658119430_n. jpg?oh=a1cd881e81df59b7fadfb9f104884e66&oe=58436906&__gda__=1481418519_7b985d1a5197a418327468dc6ed67e7a. [Accessed 09.08.2016]

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Figure 9: Lambie, J and Karlin, L. 2016. Parkinsonâ&#x20AC;&#x2122;s Patients in Dance Class. Photograph. Available at http://media.npr.org/assets/img/2016/01/22/pd-1_wide-8560a04ffc237a44cac3e1193814b328003bd0c0-s900-c85.jpg. [Accessed 09.08.2016].

Figure 10: Holman, M. 2016. Overlay 3. Photocollage.

Figure 11: Swope, M. 1983. George Balanchine. Photograph. Available at https://media1. britannica.com/eb-media/18/13218-004-C824BECA.jpg. [Accessed 09.08.2016] Figure 12: Holman, M. 2016. North Elevation Soweto Theatre. Drawing, reproduced from the photograph available at <http://travelblog.portfoliocollection.com/FeaturedImage/ Soweto-Theatre%202.jpg> [accessed 03.11.2016] Figure 13: Stringio. n.a. 2012. Photograph. Available at <http://images.adsttc.com/media/ images/5018/66f4/28ba/0d33/a800/0b71/large_jpg/stringio.jpg?1414040205> [accessed 03.11.2016] Figure 14: Site Plan. 2012. Drawing. Available at <http://www10.aeccafe.com/blogs/ arch-showcase/files/2012/06/Soweto-TheatreSite-plan.jpg> [accessed 03.11.2016] Figure 15: Untitled, n.a. 2012. Drawing. Available at <http://images.adsttc.com/media/ images/5018/6709/28ba/0d33/a800/0b77/large_jpg/stringio.jpg?1414040220> [accessed 03.11.2016] Figure 16: Untitled, n.a. 2012. Photograph. Available at <http://images.adsttc.com/media/ images/5018/66fc/28ba/0d33/a800/0b73/large_jpg/stringio.jpg?1414040212> [accessed 03.11.2016]

Figure 17: Theatre Interior, n.a. Photograph. Available at <http://i2.wp.com/www10.aeccafe.com/blogs/arch-showcase/files/2012/06/Soweto-TheatreInterior.jpg> [accessed 03.11.2016] Figure 18: Internal Foyer, n.a. Photograph. Available at <http://www.afritects.co/media/ k2/items/cache/82558bd755d4bf64f8b1324b360ed554_XL.jpg> [accessed 03.11.2016] Figure 19: Untitled, n.a. Photograph. Available at <http://www.whatson.co.za/uploads/ venues/venue_641.jpg> [accessed 04.11.2016]

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Figure 20: Antic Meet. 1958. Photograph. Available at http://static.seattletimes.com/

wp-content/uploads/2009/12/2009547919-300x0.jpg. [accessed: 05.08.2016] Figure 21. Gavrilou, E. 2003. Diagrammatic representation of partition. Inscribing Structures Of Dance Into Architecture. 1st ed. London: 4th International Space Syntax Symposium, 2003, pg. 32.14. Rendering. Available at http://www.spacesyntax.net/symposia-archive/SSS4/fullpapers/32Gavriloupaper.pdf. [Accessed 01.05.2016] Figure 22: Holman, M. 2016. Overlay 4. Photocollage.

Figure 23: Holman, M. 2016. Springs in the Greater Context. Map. Figure 24: Author Unknown. 1907. A very old photo of Second Avenue, Springs. Photograph. Springs Library Archive Loose Photographs Figure 25: Author Unknown. 1934. 2nd Ave at the intersection of 2nd St looking East.

Photograph. Springs Library Archive Loose Photographs Figure 26: Author Unknown. 1935. Vintage council plan of the East Rand and all its mines. Town locations highlighted in Red. Note the extent of the railroad. Photograph.

Springs Library Archive Loose Photographs Figure 27: Author Unknown. 1936. Century Bioscope 2nd Ave Springs. Like a scene from old Hollywood. Photograph. Springs Library Archive Loose Photographs Figure 28: Author Unknown. 1957. The original Springs Theatre in Third street built in 1922 and a beautiful â&#x20AC;&#x2DC;56-57 Citroen DS with TJ plates parked outside. Photograph.

Springs Library Archive Loose Photographs Figure 29: Author Unknown. 1958. The Springs Theatre (Originally the HF Verwoerd Theatre). The cultural heart of Springs. Photograph. Springs Library Archive Loose Photographs Figure 30: Author Unknown. 1937. December 20th, The Palladium theatre opening. Photograph. Springs Library Archive Loose Photographs Figure 31: Author Unknown. 1957. The Palladium theatre was the epi-centre of cultural life in Springs. Photograph. Springs Library Archive Loose Photographs Figure 32: Author Unknown. 1975. The seventies in Springs were a time of artistic and musical expression and innovation. Springs was a creative petri-dish. Photograph.

Springs Library Archive Loose Photographs

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Figure 33: Author Unknown. 1967. Daggafontein Mine Headgear. Photograph. Springs Library Archive Loose Photographs Figure 34: Author Unknown. 1965. Zona Visser Cabaret Star. Photograph. Springs Library Archive Loose Photographs Figure 35: Holman, M. 2016. Overlay 5. Photocollage.

Figure 36: Author Unknown. 2011. Render. Photograph. Available at: https://en.wikiarquitectura.com/images/3/3c/10_centro_laban.jpg [Accessed 29.09.2016] Figure 37: Author Unknown. 2008. 00_centro_laban .Drawing. Available at https:// en.wikiarquitectura.com/images/c/c8/00_centro_laban.jpg. [Accessed 29.09.2016] Figure 38: Author Unknown. 2008. 05_centro_laban .Sketch. Available at https://en.wikiarquitectura.com/images/c/c8/00_centro_laban.jpg. [Accessed 29.09.2016] Figure 39: Author Unknown. 2008. 01_centro_laban .Drawing. Available at https:// en.wikiarquitectura.com/images/c/c8/00_centro_laban.jpg. [Accessed 29.09.2016] Figure 40: Author Unknown. 2008. 02_centro_laban .Drawing. Available at https:// en.wikiarquitectura.com/images/c/c8/00_centro_laban.jpg. [Accessed 29.09.2016] Figure 41: Author Unknown. 2008. 03_centro_laban .Drawing. Available at https:// en.wikiarquitectura.com/images/c/c8/00_centro_laban.jpg. [Accessed 29.09.2016] Figure 42: Author Unknown. 2008. 06_centro_laban .Drawing. Available at https:// en.wikiarquitectura.com/images/c/c8/00_centro_laban.jpg. [Accessed 29.09.2016] Figure 43: Author Unknown. 2008. 04_centro_laban .Drawing. Available at https:// en.wikiarquitectura.com/images/c/c8/00_centro_laban.jpg. [Accessed 29.09.2016] Figure 44: Author Unknown. 2008. 22_centro_laban .Drawing. Available at https:// en.wikiarquitectura.com/images/c/c8/00_centro_laban.jpg. [Accessed 29.09.2016] Figure 45: Author Unknown. 2008. 14_centro_laban .Drawing. Available at https:// en.wikiarquitectura.com/images/c/c8/00_centro_laban.jpg. [Accessed 29.09.2016] Figure 46: Author Unknown. 2008. 15_centro_laban .Drawing. Available at https:// en.wikiarquitectura.com/images/c/c8/00_centro_laban.jpg. [Accessed 29.09.2016]

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Figure 47: Hurley, T. 2011. Untitled. Photograph. Available at http://images.adsttc.com/

media/images/5006/dff8/28ba/0d41/4800/0155/large_jpg/strstrin.jpg?1414439421. [accessed 21.07.2016] Figure 48: Baan, I. 2011. Performance Chamber. Photograph. Available at http://images.adsttc.com/media/images/5006/e002/28ba/0d41/4800/0157/large_jpg/sstringi. jpg?1414439450. [accessed 21.07.2016] Figure 49: Baan, I. 2011. Untitled. Photograph. Available at http://images.adsttc.com/ media/images/5006/e021/28ba/0d41/4800/015f/large_jpg/stringio.jpg?1414439462. [accessed 21.07.2016] Figure 50: OMA. 2009. Untitled. Diagram. Available at http://images.oma. eu/20150803221209-1333-z974/700.jpg. [accessed 21.07.2016] Figure 51: Holman, M. 2016. Progression. Image-based flow diagram. Base images available at http://www.rex-ny.com/wyly-theatre/ [accessed 19.10.2016] and http://www.archdaily.com/37736/dee-and-charles-wyly-theatre-rex-oma [accessed 19.10.2016] Figure 52: Holman, M. 2016. Overlay 5a. Photocollage.

Figure 53: Unknown Author. 2016. Untitled. Photograph. Available at http://www.improvementdistricts.co.za/files/maboneng.jpg [accessed 19.10.2016] Figure 54: Coustas, W. 2015. Untitled. Photograph. Available at http://blog.sa-venues. com/wp-content/uploads/2015/01/maboneng-02.jpg [accessed 19.10.2016] Figure 55: Coustas, W. 2015. Untitled. Available at http://blog.sa-venues.com/wp-content/ uploads/2015/01/maboneng-01.jpg [accessed 19.10.2016] Figure 56: Market on Main. 2011. Untitled. Available at http://media.withtank. com/6281ead6ce/about-2.jpg [accessed 19.10.2016] Figure 57: Neighbourgoods Market. 2016. About Fullscreen. Available at http://neighbourgoodsmarket.co.za/assets/img/about-fullscreen.jpg [accessed 19.10.2016] Figure 58: Holman, M. 2016. Overlay 6. Photocollage.

Figure 59: Holman, M. 2016. Main Transport Routes between Johannesburg and Springs.

Map. Figure 60: Holman, M. 2016. Clusters of Dance Schools and Theatres. Map.

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Figure 61: Holman, M. 2017. User Catchment Area. Map Figure 62: Google Street View. 2009. Springs Civic Theatre. Photograph/Screengrab.

Figure 63: Holman, M. 2016. Site Location. Map. Figure 64: Holman, M. 2016. Transport Hubs. Map.Figure 65: Holman, M. 2016. Greater Site Context. Map. Figure 66: Holman, M. 2016. Immediate Site Context. Map and photocollage Figure 67: Holman, M. 2016. Proposed Cultural Precinct. Map Figure 68: Holman, M. 2016. Existing Second Avenue Edge. Annotated Sketch Figure 69: Holman, M. 2016. New Second Avenue Edge. Annotated Sketch Figure 70: Holman, M. 2016. Overlay 7. Photocollage.

Figure 71: Holman, M. 2016. Early Perspective Sketch. Drawing.

Figure 72: National Arts Council of South Africa. 2016. Organisation Structure. Table.

Source: Strategic Plan 2012-2016 Figure 73: Holman, M. 2016. Funding Hierarchy. Flow Chart.

Figure 74: National Arts Council of South Africa. 2016. Awards by Sector. Bar Graph.

Source: Strategic Plan 2012-2016 Figure 75: Holman, M. 2016. Building Programme. Table.

Figure 76: Holman, M. 2016. Approximate Building Cost. Table. Data Source: AECOM Figure 77: Holman, M. 2016. Funders. Table.

Figure 78: Holman, M. 2016. Areas of Income. Table.

Figure 79: Holman, M. 2016. Overlay 8. Photocollage.

Figure 80: South African National Standards. 2011. Access signs. Drawing.

Figure 81: South African National Standards. 2011. Height of lettering. Table.

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Figure 82: South African National Standards. 2011. Accessible Parking Bays. Drawing.

Figure 83: South African National Standards. 2011. Kerb Cuts. Drawing.

Figure 84: South African National Standards. 2011. Camber on Walkways and Ramps.

Drawing.

Figure 85: South African National Standards. 2011. Access dimensions. Drawing and table.

Figure 86: South African National Standards. 2011. Ramp requirements between landings. Table.

Figure 87: South African National Standards. 2011. Dimensions of typical handrails.

Drawing.

Figure 87a: Alan Dunlop Architects. 2007. Untitled. Drawing. Available at http://www. greekarchitects.gr/images/news/tsabikos.2011.04.02.jpg. [Accessed: 17.02.2017] Figure 88: Alan Dunlop Architects. 2007. Untitled. Photograph. Available at http://architizer.com/projects/hazelwood-school/media/186090/ [Accessed: 17.02.2017] Figure 89: Alan Dunlop Architects. 2007. Untitled. Drawing. Available at http://www. greekarchitects.gr/images/news/tsabikos.2011.04.03.jpg. [Accessed: 17.02.2017] Figure 89: Alan Dunlop Architects. 2007. Untitled. Aerial Photograph. Available at http:// www.greekarchitects.gr/images/news/tsabikos.2011.04.03.jpg. [Accessed: 17.02.2017] Figure 91: Alan Dunlop Architects. 2007. Classroom. Photograph. Available at http://architizer.com/projects/hazelwood-school/media/186086/. [Accessed: 17.02.2017] Figure 92: Alan Dunlop Architects. 2007. Untitled. Photograph. Available at http://www. dev.ihcdstore.org/sites/all/themes/ihcd/img_window.php?imgname=files/HazelwoodSchool04H(c)ANDREW-LEE-PHOTOS%20resized.jpg. [Accessed: 17.02.2017] Figure 93: Alan Dunlop Architects. 2007. Colour and Light. Photograph. Available at http:// architizer.com/projects/hazelwood-school/media/186087/. [Accessed: 17.02.2017] Figure 94: Andrew Lee Photos. 2007. Corridor Streets. Photograph. Available at http:// www.dev.ihcdstore.org/sites/all/themes/ihcd/img_window.php?imgname=files/HazelwoodSchool11H(c)ANDREW-LEE-PHOTOS%20resized.jpg. [Accessed: 17.02.2017]

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Figure 95: Holman, M. 2016. Overlay 9. Photocollage.

Figure 96: Holman, M. 2016. Charrette One. Photocollage.

Figure 97: Holman, M. 2016. Charrette Two. Photocollage.

Figure 98: Holman, M. 2016. Programme One. Photocollage.

Figure 99: Holman, M. 2016. Programme Two. Photocollage.

Figure 100: Holman, M. 2016. Programming Rationale. Annotated drawing.

Figure 101: Holman, M. 2016. Possible Site Plan. Drawing.

Figure 102: Holman, M. 2016. Planning Progression. Drawing.

Figure 103: Holman, M. 2016. Fourth Design Iteration. Drawing Series Figure 104: Holman, M. 2017. Fifth Iteration Explanatory Diagrams. Diagrams Figure 105: Holman, M. 2017. Fifth Iteration Roof Plan. Drawing Figure 106: Holman, M. 2017. Fifth Iteration Ground Floor Plan. Drawing Figure 107: Holman, M. 2017. Fifth Iteration First Floor Plan. Drawing Figure 108: Holman, M. 2017. Fifth Iteration Sections. Drawing Series Figure 109: Holman, M. 2017. Fifth Iteration Elevations. Drawing Series Figure 110: Walter Hodges, C. 1950. The Globe Playhouse. Drawing. Available at: https:// upload.wikimedia.org/wikipedia/commons/thumb/8/80/Hodge%27s_conjectural_Globe_ reconstruction.jpg/220px-Hodge%27s_conjectural_Globe_reconstruction.jpg. [Accessed 12.10.2016] Figure 111: Holman, M. 2017. Roof Inspirations. Photocollage Figure 112: Holman, M. 2016. Overlay 10. Photocollage.

Figure 113: Holman, M. 2017. North East Perspective. Rendering Figure 114: Holman, M. 2017. Main Entrance Perspective. Rendering

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Figure 115: Holman, M. 2017. North Elevation. Rendering Figure 116: Holman, M. 2017. North East Aerial Perspective. Rendering Figure 117: Holman, M. 2017. South West Corner Perspective. Rendering Figure 118: Holman, M. 2017. Site Plan. Drawing Figure 119: Holman, M. 2017. Ground Floor Plan 1:500. Drawing Figure 120: Holman, M. 2017. First Floor Plan 1:500. Drawing Figure 121: Holman, M. 2017. Elevations 1:500. Drawing series Figure 122: Holman, M. 2017. Sections 1:500. Drawing series Figure 123: Holman, M. 2017. North East Aerial Night Perspective. Rendering Figure 124: Holman, M. 2016. Overlay 11. Photocollage.

Figure 125: Holman, M. 2016. Public vs Private Diagram. Diagram series Figure 126: Holman, M. 2016. Major Circulation Diagrams. Diagram series Figure 127: Holman, M. 2016. Edge Visibility Condition Diagrams. Diagram series Figure 128: Holman, M. 2016. Structural Diagram. Diagram Figure 129: Holman, M. 2017. Perimeter Section. Detail Drawing Figure 130: Holman, M. 2017. Screen Detail. Detail Drawing Figure 131: Holman, M. 2017. Building Intersection Detail. Detail Drawing Figure 132: Holman, M. 2017. Ramp Runs. Detail diagrams Figure 133: Holman, M. 2016. Overlay 12. Photocollage.

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Acknowledgements This year has been a difficult one, but I would never have come through without my incredible support system. To my family, old and new, thank you for all of the support (especially mom and dad). You are the reason Iâ&#x20AC;&#x2122;m here.

To my husband, thank you for putting up with the hanger, the tears, the lack of income, and a just-generally grumpy wife. Thank you for housing me and feeding me without a single complaint. Youâ&#x20AC;&#x2122;re the best!

To my editors, Ian Sharland and Caitlin Clerk, thank you for the best editing I have ever seen.

To my class mates, thank you for the constant encouragement. The comfort and support you provided was utterly invaluable.

Finally, thank you to my supervisor, Christos. This would have been an insurmountable challenge without your constant encouragement and enthusiasm.

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